By Matt McDermott

Colleen's work examines nature in the urban environment, seeking to examine "the relationship humans have with animals, how we coexist with the natural world, and the disappearance of it within the urban space."

Could you explain your approach as a photographer to examining nature and the urban within the same image?

My work has twisted and turned along the same vein now for ten years - an investigation into how and where the natural world creeps into an urban place, or really, I should say how it has been covered by the urban space. In grad school we were supposed to find a "project" for our thesis work and I was just lost. It turned out that I had begun this examination before I realized it - my pictures were full of plants and animals, both real and artificial. I think I was drawn to the irony of things - 'plastic nature' in Chicago. Once I saw what I was photographing, I just took off with it. I explored all the obvious places where you find nature: the zoo, conservatories, pet shops,events with animals. Then I started to look at the less obvious places; I tried to find surprise occurrences, as well as the manufacture of nature. And then the dead animals. I still explore ideas about real/artificial and staged. I photographed the circus that came to town recently and found it so unbelievably depressing. I had to leave. There is such an appeal for spectacle, no matter what the message or impact. When I left, I found what I was looking for—the elephants walking up the ramp to the parking lot of the United Center. In the freezing cold. What are we doing? I kept asking myself. Why are people still buying tickets to this? (Of course I did too, to photograph it.) That said, I also want to find and focus on the beauty of the coexistence of the natural and urban too—and not get cynical. Ultimately, beauty and irony is what drives my work.

Does the subject matter of humanity's relationship with its surrounding environment reflect non-artistic interests and concerns?

It has grown to more and more reflect my concerns about the environment; issues of land use and how animals are treated. I think I have become more concerned as years go by. I have always said I do not want my work to be political or overtly 'environmental'. I guess I feel so happy when I am in front of my house and a formation of geese flies over, low, on their way to the cemetery, and I can hear their wings flapping. I want to notice things like that, always. It is the contrasts of things that most attract me. I try to create that in my pictures. Or show that it exists(!) so that hopefully, the work, as it is seen, will have an incremental impact on people's awareness of their relationship with the natural environment.

Do you draw a hard distinction photography and other art media?

As with any media, there is a specific history available to draw upon; a context for making new work. Photography's discourse is changing and broadening more than ever. My art making process involves making pictures of what I observe, my interpretation of the world. Photography's uniqueness lies in its ability to document—that possibility—and therein a distinction is created. I do not think thereis any difference in the art making process between mediums though. Art at its purest is the expression or questioning of ideas, regardless of medium.

How do you feel about being a photographer working and living here in Chicago?

I think I have really found myself exploring the idea of people and nature as a result of living, and growing up, in Chicago. My parents took my brother and sisters and I camping all the time—we drove all over the country in our VW bus and at the time I would think—god, why can't we stay in a hotel and be normal? Now those camping trips are my richest childhood memories. My Dad, especially, helped plant the seed for my love and appreciation of the outdoors - and for animals. (Think: pet duck.) I think that my work stems from my craving to be close to the land, yet I still live each day in this urban place. Also, I grew up in Rogers Park and we were able to run free in our neighborhood and explore whatever nature we could find. I remember spending a lot of time outside—running through gangways and climbing things—trees and garages and fences and big mountains of dirt in empty lots. That freedom is really lost today—I know my daughters won't be able to do that in our neighborhood—it is a different world now. Chicago still provides me with a seeming endless list of places to explore photographically.

You write of your examination of the relationship between humanity and the natural world as a way of "questioning of the levels of authenticity and artifice in contemporary urban life." Could you offer an example of how you have embodied this exploration in a particular image?

I think these images address issues about fabrication and representation of the natural world. We live in a time of games and virtual experiences which I find funny, sad, and, I guess, a reality. What effect could this be having on people? I guess representations are created due to a lack of the actual. We certainly can't walk through a forest of bamboo trees in downtown Chicago. It seems that almost real will suffice most of the time. It must provide relief, these fabrications, otherwise they would not be so popular: The Rainforest Café. Well, the trees here are real—they are in a fake habitat, a lobby, and seem to be thriving.

A newer project, "Our Land," is carried out with a large-format camera. What advantages does this different camera offer and how is that reflected in the final photograph?
I work much slower with my large format camera. In every way. I will spot something that I want to photograph for that project and wait for a season to change to make the picture. That is slow. My lists take a long time to complete. I also find it really exciting to 'find' the picture as I am photographing. It is much harder to get what I am looking for, but thrilling when I do. I look for a certain essence, always, that comes through using the large format.

Does your work as a teacher and graphic designer influence your photography?

Teaching keeps me on my toes and current. I stay creatively hungry when I am involved with students. I think being a graphic designer influences my photography - certainly - design is all composition. Working on design projects uses a different part of my brain it seems, and I like that. It is all creative work, but graphic design is intricate, and of course, ultimately for a client. My photographs are personal and explore what I love and fear and want and hope for. I think being both a designer and photographer keeps me creatively balanced.

What artists or photographers do you feel a kinship with in your work?

Terry Evans, Emmet Gowin. I look at Richard Misrach and Burtynsky. William Christenberry. Graciela Iturbide, Annette Messager, Catherine Chalmers. Women artists who continue to make good work while having families. Melissa Pinney. William Eggleston. Gary Snyder.

What is coming up for you around Chicago in 2007?

I am having a solo show in April at the Notebaert Nature Museum at Fullerton and Cannon Drive.

Learn more about Colleen's art
http://www.colleenplumb.com/