Movement Artifact by Natalja Kent

Issue 153

Movement Artifact represents the intersection of Natalja Kent’s most intimate mediums: photography, research and embodiment practices. Analog chromogenic monoprints serve as artifacts of embodied performances held in solitude within the pitch-black, color darkroom.

In 2013, during a Jin Shin Jyutsu body-work session, Kent was advised that she needed to release an internalized fear embodied by her maternal line from generations of totalitarian and oppressive rule—in the former Czechoslovakia. This lead to a flood of research and experimentation into various forms of embodiment techniques, including Feldenkrais, breath-work, Zero Balancing, Janzu, Acupuncture, singing, somatic therapy, cranial sacral therapy and training in Mindful Based Stress Reduction Meditation.

Kent then adopted her biological father’s color theory for painting that she learned while taking his class the Rhode Island School of Design. The method uses the tertiary color system to build a full palate. By using these colors as the core gel composites in the darkroom, Kent is able to also build all colors in the performative blending of light.

Interweaving the somatic research, familial color theory and understanding of the chemical composite and mechanics of color photographic paper, Kent developed a unique technique of generative art making.

The working method in Movement Artifact includes meditation, movement, singing, flashing lights and colored gel blocking in the pitch-black, analog, color darkroom. The process of subsuming cognition into an embodied state opens what Kent describes as channels, in which she performs for no audience except the light sensitive paper. This act leaves markings upon the page and comprise the analog chromogenic monoprints in the Movement Artifact series.

Natalja Kent (she/her) lives and works in Los Angeles, CA.
nataljakent.com | @subject_object_manifest