Trompe L'oeil

Galerie Protégé

197 Ninth Ave, Lower Level, New York

June 8 – July 6, 2017

Trompe L’oeil is a french phrase meaning to “deceive the eye”. Historically, it has referenced
painters in the 18th and 19th century who strove to achieve a hyperrealistic style to their
images, one could even say photorealism before photography. Illusion plays a role in tricking the viewing into questioning the medium at hand and blurring the lines of the assumptions made upon both photography and painting. This exhibition reverses this idea, or redefines it in a contemporary context. Now, photographers sometimes create new constructions that nod to
painting, among other media, and deceive by using other methods of representation.

Sheida Soleimani is an Iranian-American artist, currently residing in Providence, Rhode Island.
The daughter of political refugees that were persecuted by the Iranian government in the early
1980’s, Soleimani inserts her own critical perspectives on historical and contemporary sociopolitical occurrences in Iran. Her works meld sculpture, collage, and photography to create collisions in reference to Iranian politics throughout the past century. By focusing on media trends and the dissemination of societal occurrences through the news, source images from popular press and social media leaks are adapted to exist within alternate scenarios.

Charlie Rubin’s work is an exploration of the ordinary, with a twist, dissolving the line between
artificial and real. He diligently captures intimate details of cultural cues by way of landscape,
still life, portraiture, and various multimedia techniques. At its core, Rubin presents a
visualization of a change in culture. Using intuition as a guide, photography, painting, sculpture
and collage collide creating a kaleidoscope vision. Born in New York in 1986, Charlie Rubin is
an artist working primarily with photo-based projects. In 2013, Rubin was awarded the Foam
Talent Award (Amsterdam), and published a book titled Strange Paradise with Conveyor Arts
shortly after, in 2014. Rubin recently had his first solo exhibition in 2015 with Kopeikin Gallery in Los Angeles. Residencies include Vermont Studio Center and the Wassaic Project. Charlie has also contributed commissioned work for The New Yorker, W Magazine, The Creators Project, Vice, and Hearst Magazines. He has works in the collections of the MoMA Library, Henry Art Museum (Seattle), and other private collections. Other endeavors include a collaborative publication called Yo-NewYork ( and a bring your own art show series in friends’ apartments called Neighboring Walls ( He earned an MFA from Parsons the New School for Design (New York), and a BA at Haverford College (Pennsylvania). Rubin currently lives and works in Bed-Stuy, Brooklyn, New York City.

Anastasia Samoylova was born in Moscow, received an MA from Russian State University for
the Humanities, and an MFA from Bradley University. She served as an assistant professor of
photography at Illinois Central College and Bard College at Simon's Rock. She is currently
based in Miami, where she is an artist resident at the Fountahead studios. By utilizing tools and
strategies related to digital media and commercial photography, her work interrogates notions of environmentalism, consumerism and the picturesque. Samoylova’s work participates in the
landscape photography tradition while scrutinizing the consumable products it generates.
Samoylova has exhibited internationally, including Museum of Contemporary Photography in
Chicago, Griffin Museum of Photography in Boston, and Pingyao International Photography
Festival in China. Her work is included in the collection at the Museum of Contemporary
Photography in Chicago and ArtSlant Prize collection in Paris. In 2015 she was granted an artist
residency at Latitude Chicago. Her work has been featured in the New Yorker and Foam

Danielle Ezzo navigates the photographic medium with a discursive interest in the "edges" of
photography and it’s relationship to the historical, technological and the ever-changing digital
landscape and how it meets the human form. Her practice involves connecting the optical and
conceptual relationships with each another by creating a new visual taxonomy for looking at the figure through a post-photographic lens. Her work has been written about in the Boston
Globe, Tate, BKN Magazine, and Lenscratch and exhibited internationally at such galleries as
IRL Gallery (OH), Dose Projects (NY), A.C. Institute (NY), Daniel Cooney Fine Art (NY), The
Santa Barbara Museum of Art, The Far Eastern Museum of Art (Russia). Danielle has lectured
at the academic conference HISTART’14 (Istanbul), Carrot Creative, and IFP Media Centerabout new digital workflows, on a panel about the future of photography at Eyebeam,and   is published in The New Inquiry. Danielle is a MFA graduate of Lesley University College of
Art & Design (LUCAD).

By shaping the physical materials that comprise the majority of her photographs, Brea Souders
satisfies her interest in psychology, chemistry and design. Her redolent images are a canvas for
her creative practice that has extended from thoughtfully executed sculptural montages for her Counterforms series, to a literal suspension of chance in her Film Electric project. Souders’
photographs are complex. Her chosen subject matter often includes personal effects or specific props that she arranges in pictorial space, conceived as a visual analogy or parallel for that which is described in her titles. Her works function as experiments, or a physical acting out of an abstract concept or layered subject—investigations into her past, cultural heritage, art history, and language—they balance between the literal and the figurative. Souders constructs visual “plays” on her ideas employing a particular palette and light-hearted tone, belying consideration of weighty and essential topics. Similarly, her well-known Film Electric project playfully derives from an accidental occurrence in her studio (fragments of her own negatives adhered with static-electricity to a plastic film sleeve) but hints at a conceptual overlay that turns her work into a visual referent for her own memories. As with memory, she writes of the work, “…certain slices come forward, and they intertwine with a lot of smaller sensory memories tied to color, light or shape. An entire day can be remembered as the way that the light caught someone’s hair, the particular pattern on a guitar strap, the shape of the moon that night, and so on”. Despite Souders’ preference for control over the creation of her images, her intuition is to always honor chance and the unknowable. She says of her work, “Illumination isn’t guaranteed”.

Anna Yeroshenko is a Russian photographer, currently living in Boston, USA. She had studied
Architecture and Design before she became a photographer and received her BFA in Design of
Architectural Environment from Pacific State University in 2008. For over 5 years she worked as an interior designer for architectural agencies and as an editorial photographer for russian
magazines in her hometown, Khabarovsk. Anna's interest in photography brought her to the US where she studied at the Lesley University College of Art and Design (the former Art Institute of Boston) and received her MFA in Photography in 2015. In the U.S. and abroad she is known for her dynamic ideas that challenge the art of photography and push the boundaries of the medium with unique techniques and original subject matter. Anna's work have been exhibited at Perth Centre For Photography in Perth, Australia, the Mall Galleries, in London, UK, Langham Place, Hong Kong among others.