Danielle Dravenstadt

“You are here” read the map posted in Old Town Alexandria. I began this project with questions about surveillance and the fragile nature of privacy. I moved through the weathered streets with an odd sense of being tracked, attuned to the security cameras on most townhomes.

As I settled in as a quiet observer, I was met with moments of generosity like free items on the street or an open garden gate that made the tightly negotiated spaces feel somehow expansive.

Where do we place the boundary between what is ours and what is shared? In a world of constant visibility, who gets to decide what stays private? This series traces that tension while honoring the quiet expansiveness that can emerge even in the most intimate spaces.

Held is an exploration of transformation, identity, and surrender. Painted on bra cups, these pieces blur the boundaries between personal history and abstraction. The fabric, once molded to the body, now becomes a vessel for color, absorbing layers of paint much like it once held shape. The process itself is an act of letting go—allowing the material to interact with the paint, embracing texture, smudges, and unpredictability.

Through Held, I question what it means to claim ownership over an image, a memory, or even a part of oneself. By repurposing something intimate and reshaping it into something new, I explore the tension between control and release, between what is given form and what is surrendered to the process.

This series explores the fractured nature of perception—both as mediated through digital systems and as experienced within altered states of mind. By deconstructing and reassembling images, I seek to mirror the way reality can slip, distort, and fragment, whether through technological interference or psychological rupture.

Glitch-like visual disruptions reflect the instability of media, where truth is increasingly a matter of manipulation. But they also gesture toward the subjective experience of psychosis, where meaning unravels and the boundaries between self and world, real and imagined, become uncertain. These compositions embody the tension between coherence and collapse, inviting the viewer into a space of disorientation—one that is both unsettling and strangely beautiful.

Through this work, I challenge notions of trust—trust in images, trust in reality, trust in our own minds. What happens when perception is no longer reliable? Can we reconstruct truth from fragments, or are we left only with a shifting, unstable narrative?

This series does not provide resolution. Instead, it lingers in the in-between, in the glitch, in the break—a space where perception itself is up for question.

In this series, Dravenstadt disorients the viewer and challenges them to think critically about the relationship between their body and technology. These photographs question the ways in which technology can both enhance and disrupt our sensory experiences.

2022

2021

2020

In Tend, Dravenstadt transforms simple gestures of care into radical expressions of acceptance. She generates an aesthetic built in the tender engagement with materials of caretakers to make care visible, mentionable, and to provoke a consideration of the transformative potential of practicing care in daily life.

In Wake, intense points of convergence disrupt nebulous atmospheres and insist upon inspection. Through habitual research, investigation, and discovery, I capture unforeseen and impermeable visions that offer a rare escape from the ordinary. These arresting vignettes document a singular experience: a cognizance of the transcendental, impermanent, and ephemeral. 

This series of diptychs addresses the human desire for connection which is often challenged by the realities of everyday life. By pressing two uniquely painted panels together, they become distorted iterations of what they once were. One pair may find a perfect harmony from this abrupt gesture. Others are left in discord until frenzied, repetitive marks with domestic tools marry them back together. Each raw, personally felt gesticulation lays bare colliding sensations of longing, division, bliss, rage, disillusionment, and aspiration.

This series captures ordinary and extraordinary marks and forms discovered on city streets. Quiet, ephemeral glimpses transform into indelible experiences through the exploration of overlooked places.

North investigates the human mark and organic degradation found on city streets. Printing, transforming, and reprinting found marks reveals the nature of decay and the impact of human agency. Assemblage deconstructs and reconstructs elements found within an urban environment, creating miniature worlds from a vast, bustling place.

Glimpse combines photography, printmaking, and assemblage to explore perceptions of place, the experience of disorientation, and the act of escapism. Deconstructing and reconstructing images transform fleeting glimpses into worlds all their own.