BIO

B. 1980, Cleveland, Ohio

Erika Neola received her BFA in Film, Video and Photographic Arts from the Cleveland Institute of Art in 2005. After working as a photographer's assistant, helping to co-found Front Room Gallery, and touring with a double-dutch team, she relocated to Brooklyn, NY in 2008. 

Erika established her career in post-production photography at Box Services where she was most recently the Director of the Fine Art Printing Dept. During her nearly 8 years at Box, she printed numerous exhibitions and was involved in the production of fine-art photography books for some of the most influential photographers and artists in the industry. She currently does freelance retouching, production and photographic consultation.

She is also an avid distance runner and teaches indoor cycling at The Monster Cycle in NYC. She lives in Brooklyn, NY with her partner, Brenden Beecy, and their cat Toru. She can be found on instagram at @erikaneola and @witchontherun.



Artist Statement

I am constantly composing images, even if I do not have a camera with me. I was drawn to photography because of its duality: it has the ability to be an almost accurate depiction of reality, but it is always affected by the point of view of the photographer. Therefore, photographs are not, in the purest sense, truths but are a skewed representation of truth through the eyes of the photographer. This is achieved by the choice in composition or a direct manipulation of the subject matter. In addition, the subject is reduced by the transmission of the light to the film plane making every photograph a copy of reality. A print becomes a copy of a copy. And so on. The medium itself is a visual xerox. I feel drawn to both aspects of photography and strive for my work to express this duality.

Like Robert Frank I am interested in the American landscape and what makes a place if not its people? Our modern landscape still holds clues of previous generations and these shine brighter against our new banal surroundings of glass & faceless facades. I seek out and am drawn to items that represent a time when hard work relied on hands and not machines: handpainted signs, clothes lines, old cars, etc. 

I mostly photograph the impact of human beings on their environments, almost exclusively without the actual presence of a human being in the frame. What can you learn about us (humans) by what I choose to convey in an image? What can you learn about us by examining the new environments we have created as we take over and inhabit the natural world?  As a viewer you are free to interpret the "meaning" or "reason" or "truth" for yourself.