FILTER PHOTO EXHIBITION PROPOSAL
DURATIONS
A Group Exhibition Featuring:
Jenna Meacham
jennameacham.comMeg Roussos
megroussos.comLeah Koransky
art.leahkoransky.comDurations brings together artists Leah Koransky, Jenna Meacham, and Meg Roussos, three photographers exploring impermanence, physicality, and time. Koransky layers images to highlight geological time and scale, Meacham’s lumen prints address the transformation of memory and light, and Roussos documents the changing landscapes impacted by climate change. As collaborators from different states, Durations at Filter Space brings their work into conversation for the first time.
Centered around the Marin Headlands in Northern California, Leah Koransky layers photographic prints, rubbings, and archival photomaps to blend historical imagery, geological records, and personal mark-making. The Headlands’ rock formations serve as records of Deep Time—Earth’s vast geological timescale—reminding us of our short lifespans against an ancient landscape. To register different timescales, Koransky works with a range of media, including photographic prints on washi paper, graphite, and colored pencil. Her palette is influenced by iron-rich rocks, minuscule plants and lichens, and the violet tones of archival photomaps. The pieces incorporate rock rubbings layered over ocean imagery, bridging the tangible and imagined; these rocky outcroppings were once beneath the equatorial Pacific and have slowly shifted north.
Meg Roussos’ work is deeply embedded in her physical engagement with landscape, where the act of walking becomes both a meditative practice and a form of understanding the natural world.The pieces featured in this exhibition were created during The Arctic Circle Residency, a two-week residency located in the high arctic sailing around the Arctic Svalbard Archipelago. Roussos’ engagement with the environment was both immediate and raw—an immersive experience where the profound fragility of the region became undeniable. Her large-scale photographs reveal the stark beauty of the Arctic but also the subtle urgency of its shifting glaciers and melting ice. Through these moments, Roussos captures a poignant intersection between presence and absence, evoking a sense of both the land’s enduring strength and its fragile impermanence.
Jenna Meacham’s Burn Time is a project investigating making photographs using the earliest form of light through lumen printing. Fire can symbolize rebirth, passion, transformation, and destruction. Fire’s instability and unreliability mimics traditional forms of photography and it’s failures in capturing memories. For this series, a candle is placed in front of light sensitive photographic paper for varying durations of time, starting at 30 seconds and getting incrementally longer. The paper acts as a camera, capturing the light and heat until the paper can no longer sustain the flame. The absence of the “photograph” becomes just as present as the photographs are. This project is from a larger body of work where Meacham uses inherited photographic equipment from her deceased grandfather. In addition to cameras, film, and his archive, she inherited several boxes of photographic paper, which she used for Burn Time. She views working with these materials as a posthumous collaboration.
Through this exhibition, audiences are invited to contemplate time and impermanence. The artists will host and record an in-person talk about how they use time in their work and will self-publish an accompanying zine free for gallery visitors.
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Meg Roussos
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Installation Renderings
Centered around the Marin Headlands in Northern California, Leah Koransky layers photographic prints, rubbings, and archival photomaps to blend historical imagery, geological records, and personal mark-making. The Headlands’ rock formations serve as records of Deep Time—Earth’s vast geological timescale—reminding us of our short lifespans against an ancient landscape. To register different timescales, Koransky works with a range of media, including photographic prints on washi paper, graphite, and colored pencil. Her palette is influenced by iron-rich rocks, minuscule plants and lichens, and the violet tones of archival photomaps. The pieces incorporate rock rubbings layered over ocean imagery, bridging the tangible and imagined; these rocky outcroppings were once beneath the equatorial Pacific and have slowly shifted north.
Meg Roussos’ work is deeply embedded in her physical engagement with landscape, where the act of walking becomes both a meditative practice and a form of understanding the natural world.The pieces featured in this exhibition were created during The Arctic Circle Residency, a two-week residency located in the high arctic sailing around the Arctic Svalbard Archipelago. Roussos’ engagement with the environment was both immediate and raw—an immersive experience where the profound fragility of the region became undeniable. Her large-scale photographs reveal the stark beauty of the Arctic but also the subtle urgency of its shifting glaciers and melting ice. Through these moments, Roussos captures a poignant intersection between presence and absence, evoking a sense of both the land’s enduring strength and its fragile impermanence.
Jenna Meacham’s Burn Time is a project investigating making photographs using the earliest form of light through lumen printing. Fire can symbolize rebirth, passion, transformation, and destruction. Fire’s instability and unreliability mimics traditional forms of photography and it’s failures in capturing memories. For this series, a candle is placed in front of light sensitive photographic paper for varying durations of time, starting at 30 seconds and getting incrementally longer. The paper acts as a camera, capturing the light and heat until the paper can no longer sustain the flame. The absence of the “photograph” becomes just as present as the photographs are. This project is from a larger body of work where Meacham uses inherited photographic equipment from her deceased grandfather. In addition to cameras, film, and his archive, she inherited several boxes of photographic paper, which she used for Burn Time. She views working with these materials as a posthumous collaboration.
Through this exhibition, audiences are invited to contemplate time and impermanence. The artists will host and record an in-person talk about how they use time in their work and will self-publish an accompanying zine free for gallery visitors.
Leah Koransky
Jenna Meacham
Meg Roussos
Installation Renderings
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