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Lightboxes

Flowers often accompany many of life’s defining moments—such as weddings, graduations, funerals, birthday parties, and memorials. They showcase their beauty in fleeting splendor before ultimately fading away. While someone celebrates a joyful occasion, another mourns their losses, and the flowers that witnessed these moments eventually wither. They become reminders of much larger experiences. Each event influences how specific flowers are perceived, linking them to memories, emotions, and, often, people.

In this work, each acetate layer has a smaller group of flowers that once contributed to a bouquet that is now long gone—each layer acting as a component as if the event’s details were fragmented. The photographs serve as the only remnants of their existence—ghosts of the past. Meanwhile, on the reverse side, a color photograph vividly presents the whole bouquet as evidence and a memorial of the life they lived.

Defining Moments

2023, Black Walnut, Poplar, Inkjet prints, LED lights, Acrylic, ACP, 22.5″ x 15.5″ x 48″ (open), 22.5″ x 15.5″ x 7.75″ (closed)

Fragmented Memories

Front side of Fragmented Memories

2023, Black Walnut, Poplar, Inkjet prints, LED lights, Acrylic, ACP, 13″ x 9″ x 6″ (closed), 13″ x 9″ x 36″ (open)

Back side of Fragmented Memories
Closed Detail of Fragmented Memories
Closed Detail of Fragmented Memories
Bouquet photo from Fragmented Memories

Transient Ascension

Transient Ascension: an end goal never to be achieved, an endless circle of trying to rise. 

Remove gravity, and all that is left is chaos. Where M.C. Escher’s Relativity has four distinct gravities or four governing end goals, Transient Ascension claims no gravity. This piece is perhaps the question and answer behind my previous work, Beacon. The artwork questions all aspects of who I am as a person and wonders how various parts of life intersect while challenging the decisions I have made.

I can call myself many things: artist, sister, daughter, auntie, friend, family, employee, and many more. Wondering how it all comes together to equal self. For years, I fought against creating a “self-portrait,” not realizing or understanding that all of my work is an extension of myself. I have been asking my art to answer many personal questions for a long time and maybe even asking it to give me a reason. The response intensifies as my practice leads to even more answerless questions, testing my ability to continue.

Life keeps moving and changing; this is true of the people who come in and out of your life, the family you have, and the demons you continually face as you keep moving forward. It is the regrets you harbor, the doubts carried. The self-worth, value, and hopelessness you struggle with and question at every turn. It is the truth hidden and sought by those you trust and ask to share your worries and burdens. It is the friends you thought would always be there and those you know that will never expect more of you than you can give. These are the questions we all continue to ask ourselves and will never have the same answer for. The lessons learned. It is walking onto a mental battlefield every day and never surrendering but finding places of rest. Transient Ascension claims no gravity. There is no start point and no destination, just the journey.

Transient Ascension
Detail of Transient Ascension
Closer Detail of Transient Ascension

Transient Ascension, 2020, Purpleheart, acrylic, stainless steel, Pigment prints on acetate, LED lighting, 37 5/8″ x 10 3/8″ x 6 5/8″

Beacon

What should you do when you feel lost? A sailor looks for a lighthouse to guide him into port, a plane awaits signals from a control tower to determine when it is safe to land, a hiker searches for trail markers, and a lost child is advised to stay put and wait for help. We often turn to others for guidance, looking for a beacon to give us a direction.

Beacon represents a challenge, a place of calm, an escape, and memories that call like the North Star, leading us back to familiar places and processes. The layered landscapes of Massachusetts, New Hampshire, and Vermont come together to create a composition that embodies New England.

It’s about finding new designs in familiar artistic processes, embracing an annual camping tradition during life’s busiest times, and cherishing the people and friends who are dear—all wrapped up in the journey of moving forward. Like a lighthouse, the light at the center sends out a call in every direction, guiding the viewer to safe ground and inviting them to experience a moment of tranquility.

Beacon, 2019, Steel, Pigment Print on Acetate, LED Light, Acrylic, Monofilament Line, 14 1/2″ x 15 1/2″ x 15 1/2″

Two-Sides of Self #1

Two-Sides of Self #1, 2017, Steel, acrylic, Transparent Film, 10″ x 14″ x 6″

Kristina McComb Two-Sides of Self #2

Two-Sides of Self #2, 2018, Steel, acrylic, Transparent Film, 10″ x 14″ x 6″

Kristina McComb Two-Sides of Self #2

Two-Sides of Self

Two-Sides of Self intertwines scenes from Western Massachusetts and Boston, reflecting my conflicted emotions about familiar landscapes versus creating my own space in a city not far away. Family has always been a significant part of my life, and I was acutely aware of the dwindling years left with my grandparents, all while cherishing the independence that came with living on my own. I understood that I needed time to grow, yet I was drawn to the familiar. Ultimately, I sought to find a sense of home in a new place.

Transparency

Except from 2017 Artist Spotlight with Abigail Ogilvy Gallery

In her Transparency series, each lightbox seeks to imitate a central marker of time, past, present and future. Each of these lightboxes started with one photograph which informed her other selections. In Present, she started with an image of a door, which metaphorically represents our hope for the future combined with the unknown. In Lacy Pathways, her first photograph was of a walkway representing the different paths we choose. McComb then sources the other two images from her archive of photographs that she has built over the years. While it took two years to complete, McComb always knew she wanted her Transparency series to be a set of three lightboxes. She started her third lightbox, From Times Before, after completing two photography series that dealt heavily with time, details, destruction, and decay and the beauty of those concepts. With these ideas fresh in her mind, McComb chose an image of an hourglass, a more literal image of time. By printing the photographs on acetate and hanging them in back-lit steel structures she seeks to imitate the fragility and permanence of time.

Present, 2014, Steel, Plexiglass, Transparent Film, 14″ x 10″ x 7″

Lacy Pathways, 2014, Steel, Plexiglass, Transparent Film, 14″ x 10″ x 7″

From Times Before, 2014, Steel, Plexiglass, Transparent Film, 14″ x 10″ x 7″

Present, 2014, Steel, Plexiglass, Transparent Film, 14″ x 10″ x 7″