Floating in the Upmost Corner: Photography

Artist’s Statment

The subtle comforts and energies radiating within the concept of “home” is the central focus of my work. Within my own social circles and environment, what I consider home has changed drastically and rapidly in the past few years, changing from a solid structure into an ideology that is constantly growing. This new understanding of home resides much more within the radically constant and playful love+support of my queer friendships, within the effort to feel at place in a body, and within objects that hold a comforting, sentimental, and symbolic energy about them. Rocks, sticks, candles, a Swiss army knife. Sparkly socks and fresh snow, scuffed wooden floors and radiators, pockets and jars for collecting. Blankets, blankets, blankets. Unexpected hues and rainbow-bright edges that result from shifts in my subject and my body between three exposures reflect the instability and fluidity inherent in ourselves and the places we decide to pin down as “home.” None of this is permanent, but this impermanence does not cancel out the positive influence, magic, and growth that can be enjoyed from these shifts.

Black-and-white images alongside tackle these same ideas in a more direct, documentary manner. The objects and situations gathered here become forces and subjects of their own, wielding strange powers. I am seeking to capture and explain some of the invisible, internal energy present in these relationships and objects, and to celebrate both the natural and domestic spaces that form the backdrop to this newfound home, merging them into one.

Lindsay Tripp is a young-ish artist living and working in Buffalo, NY. Born in Kansas, they attended Alfred University School of Art and Design for photography. Their work explores themes of home and change, nature, domesticity, gender, friendship, care, and energy. Lindsay is also a co-founder of the arts collaborate/zine Rotten Apple. They are a big fan of collecting sticks and walking their dog, Zuma.