Photographer Danae Falliers has a new exhibition, Libary, that recently opened at the Craig Krull Gallery in Los Angeles running through January 17th. With this project, Danae explores the Rem Koolhaas-designed Seattle Public Library by photographing the building and its endless stacks of neatly organized books.

“Due to the relatively low lighting conditions, all of the text along the book spines softly disappeared, and Falliers recognized that her library photographs had edged closer to pure abstraction. She decided to pursue the potential of this discovery by digitally enhancing and manipulating a group of new library images, blurring the book edges and re-assembling assorted rows of books of various colors and thicknesses. Rather than framed and captured in the mode of traditional photographic practice, these images are constructed. They are fabricated using elements of color and form in the manner of a geometric abstract painter or sculptor.”

Danaie was born and raised in Denver, Colorado, has lived at length in San Francisco, Los Angeles and Houston. Currently, she lives and work in New Mexico.My work engages the American landscape, both exterior and interior. It can be read conceptually or formally; metaphorically or literally. The images are reductive, highly manipulated, and abstracted. One way to describe them is as post-photography. Another – photographic drawing. I take a popular and emotional approach to my imagery.

I am intrigued by ideas of transience, transcendence, and impermanence. I’m interested in the co-existence of movement and stillness, color and pattern, realism and abstraction, flatness and depth. My work explores the evolution of the perceived landscape, created in part by the pervasive acceleration of images in modern life, which in turn has exponentially intensified and dulled our cognitive understanding of our environments. My pieces show the fleeting nature of transition, difficult to grasp but known to our perception, recognizable to our consciousness and memory.

My process takes many steps. Sometimes an image is shot straight in very detailed high resolution, or I use a slow shutter speed to capture an image with what I call “digital detritus”. My work is closely married to design as well – in its structure, use of color theory, and its flexibility to work at different scales and sizes.