Sharon Harper lives and works in Cambridge, MA.

MOSSLESS: It’s been ten years since your exhibition at the Whitney. What has happened in this decade?
SHARON HARPER: I’ve been following my curiosity and doing what I love for the past decade.  I’ve made work that explore perception, mediating technologies, and what those technologies can express about our place in the world.  I’ve been on more than ten artist residencies that have given me the time and place to do my work. I’ve had the good fortune to teach at three different universities. I’ve been teaching at Harvard University for the past six years. And I’ve been enjoying raising a family.

ML: Were your Moon Studies digitally composited? How did you do it?
SH: The images in the Moon Studies and Star Scratches are multiple exposures.  Each on is photographed on a single sheet of 8x10 or 4x5 chrome exposed many times over the course of an evening, several days, weeks or months at a time, depending upon the image. The title of each image gives the information about the length of time it took to make each image.

ML: Most of your projects revolve around the moon, space, or sky. What prompted this interest? Is life earth not interesting enough?
SH: My work has always been about our perceptual experience of place, and how lens-based technology can render a phenomenological view of place that we can’t see or access without it. Some of the work looks at immediate surroundings, and some of it looks above and beyond us. I’ve become interested in our relationship to things that are larger than us, and beyond our control. The cosmos stands in for these notions and for the idea of deep time.

ML: Any thoughts on the other artists in Collector’s Guide to New Art Photography Vol. 2?
SH: I haven’t seen it yet.  I’m excited to see everyone’s work.  One woman really caught my eye, Irina Rozovsky—fantastic work!

In conjunction with the Humble Arts Foundation for The Collectors Guide to New Art Photography, Vol. 2.