B R E A S O U D E R S

A B O U T T H E A R T I S T

Brea Souders is a Brooklyn-based multidisciplinary artist, often blending digital phenomena with physical objects and the handmade.  Her recent work explores concepts of selfhood, anonymity, and the virtual “other” within web-based culture. Looking at the historical, contemporary, and prospective imprints of technology through a female lens, the artist examines its impact on our bodies, identities, and perceptions of the world around us. Souders has exhibited her work nationally and internationally, including solo exhibitions at Baxter St. at CCNY, Bruce Silverstein Gallery, and the Abrons Arts Center in New York, as well as at Foam Museum, Amsterdam, Netherlands; the Centre Photographique Rouen Normandie, France; PhMuseum, Bologna, Italy; and Peckham 24, London, UK.  She is the recipient of a Pollock-Krasner Foundation Grant and National Arts Club Fellowship and was an artist-in-residence with Baxter St. at CCNY, Millay Arts, and the Artist House at St. Mary’s College, Maryland. Essays and reviews of her work have appeared in publications such as The New York Times, Artforum, Frieze, i-D, and The New Yorker. She is the author of the books Another Online Pervert, (MACK, 2023) and Brea Souders: Eleven Years (Saint Lucy Books, 2021).

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V i s t a s

Vistas is a series of hand-painted photographs featuring disembodied human shadows, all within U.S. national parks, that the artist discovered in Google Maps. These views are extracted from user-generated interactive images uploaded to Google Maps, which utilizes artificial intelligence technology to automatically remove physical bodies from uploaded photos. The resulting human shadows, shaped by both natural sunlight and algorithmic interventions, are presented exactly as encountered. By capturing only distorted shadows of the photographers etched onto the landscape, Souders documents these digital remnants.

The images are hand-painted in reference to early twentieth-century picture postcards of landscapes. The form of these pictures draws influence from a time when humans dreamed of experiencing the landmarks of a beautiful natural world and are made now in a time when we hope the natural world will survive our occupation of it. Hand-painting was once considered a way of infusing a photograph with life and was often performed anonymously by women. The series poses a plurality of questions centering on how our relationship to nature has evolved and how the chasm between lived and virtual experience is affecting human behavior. It offers insight into how AI perceives and tracks images autonomously, operating independently of human intervention. As modern living continually draws us further from our origins, Vistas explores what the landscape means to us now.