Ian Baguskas’s Rincon Artificial Island and Pipeline, Ventura, California, 2007 40×51″ C-print

Peggy Roalf reviews Sweet Water, Spring ‘06 Hot Shot Ian Baguskas’ current show at Jen Bekman Gallery, in Design Arts Daily.

She writes:

“In the last several years, photographers around the globe have taken up the plight of the earth, further endangered today through climate change, deforestation, and drought. The landscape, with human activities accepted as a ‘natural’ aspect of the view for better or worse, provides the raw material, from both a visual and philosophical standpoint. One of the most beguiling exhibitions on view in New York is ‘Sweet Water,’ photographs by Ian Baguskas, at Jen Bekman Gallery.“

Baguskas’ Sweet Water is up until May 3, 2008.

We start this series of catching-up interviews with Spring ‘07 Hot Shot Mark Marchesi, who has a solo show now at Nelson Hancock Gallery.

How did you come to enter Hey, Hot Shot!?

MM: I had stopped by a couple of openings at Jen Bekman Gallery when I still lived in NYC, which was around the time she opened. Then I moved to Maine and became a father and was pretty far removed from the scene for a while. I was making work and when that work was ready to show I started compiling a list of contacts to send stuff to. I remembered about Jen Bekman Gallery, and went to the site to see if it mentioned anything about submissions. There was Hey, Hot Shot! and it said that the competition was the only way she was reviewing new photography. It happened to be just before the deadline for the Spring competition, so I entered.

What have you been up to since we last saw your work in Hey, Hot Shot?

MM: Last summer and fall I was shooting a lot of abandoned military forts in Maine and New Hampshire. I was really excited about that for a while, but I stalled out on it for several reasons when winter hit. I was also working on a pretty involved promotional mailing and a book proposal. Before the new year I was offered the opportunity to show at Nelson Hancock Gallery, and for two months all my free time was taken up by printing and framing. I build all my own frames from scratch, so as soon as Nelson and I firmed up a date I went to work cutting, gluing, and sanding. I also make all my own digital c-prints, so there was a lot of work to do on the files. Now that I am done with that, and I don’t need snowshoes and a parka to go shooting anymore, I am getting back out with my camera. My main focus right now is on a new project about working waterfronts and commercial fishing communities in Maine and the Canadian Maritimes.

What kind of impact did Hey, Hot Shot! have on your career?

MM: This question is a little difficult because I don’t always feel like I actually have a career in photography. I am definitely trying to start one, and Hey, Hot Shot! was a step that I am glad I took that direction. Whenever you present your work there is a thought process you must go through which is valuable no matter what the outcome. Entering these types of calls forces you to get outside of your own head, which is necessary at times for a lot of us. Hey, Hot Shot! didn’t launch me into art stardom, but it was a great experience. I got to know Jen who I have a lot of respect for, along with the other winners, some of whom I am still in touch with and continue to get feedback from. I am also happy that it gave (and is still giving) me a lot of exposure on the internet. Lastly, the positive reinforcement of actually winning something is always good.