In the mid-1980s, Stu Levy began making
'grid-portraits' in order to overcome his his frustration with traditional portraiture's limited point of view. These constructs of photographs, consisting of twelve to twenty-five individual images, scan the architecture and flow of time in a subject's living or working environment. The resulting portraits, usually of artists, craftspeople and musicians, are made in the subjects' studios or living spaces and serve as a backstage tour of the artist s mind and creative process. Levy is fascinated
by the artifacts that fill these spaces the possessions by which the subjects are themselves possessed. Rather than confining himself to a single 'decisive' moment, Levy explore its antithesis, a maze of scrambled time. These are made with a view camera
using 4 x 5-inch negatives to allow for precision of detail. The sections are printed together to form the illusion of glancing through a window at a 'snapshot' of an event, which in reality might consist...