Heather Chilson
Heather Chilson
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#8

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#7

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#6

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#5

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#3

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#2

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#1

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#4

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Kissing Rocks (Print)

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In or Out? (Print)

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Skunkworks (Print)

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Riverbend Music Show (Print)

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Making Hay while the Sun Still Shines

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Kissing Rocks

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Regular

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Skunkworks

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Riverbend Music Show

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Polo Barn

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Green Chair

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Rust Never Sleeps

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In or Out?

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Texaco

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Snappy Service

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No Lead

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Motel

About Heather Chilson

Represented Artist

Born and raised in northeastern South Dakota, Heather Chilson moved to Arkansas in 2005. Since childhood, photography had always played an important part in her life as a hobby, but it grew into a passion. Influenced by photographers such as Imogen Cunningham, Garry Winogrand, Todd Hido, Jane Rule Burdine and Geoff Winningham because their work evokes emotions and feelings about time and place within her, Heather finds inspiration to use her stark, matter-of-fact approach in compositions that she hopes will also speak to the viewer. She works in both film, using cameras that date back to the 1930’s, as well as digital.

When I photograph I spend time in front of a subject and think about how I want it ultimately portrayed: do I want to show the sense of place? The beauty of its age? Or just capture the typically mundane?

The more I can think about this narrative, the more I can edit through my viewfinder before I fire the shutter. Ultimately when I see the final photo, I want to be transported back to that place and I want the viewer to see it through my eyes, realistically.

I don't want to create an unrealistic illusion; I want you to feel that you were there with me when I took the shot.

About the art

Born and raised in northeastern South Dakota, Heather Chilson moved to Arkansas in 2005. Since childhood, photography had always played an important part in her life as a hobby, but it grew into a passion. Influenced by photographers such as Imogen Cunningham, Garry Winogrand, Todd Hido, Jane Rule Burdine and Geoff Winningham because their work evokes emotions and feelings about time and place within her, Heather finds inspiration to use her stark, matter-of-fact approach in compositions that she hopes will also speak to the viewer. She works in both film, using cameras that date back to the 1930’s, as well as digital.

When I photograph I spend time in front of a subject and think about how I want it ultimately portrayed: do I want to show the sense of place? The beauty of its age? Or just capture the typically mundane?

The more I can think about this narrative, the more I can edit through my viewfinder before I fire the shutter. Ultimately when I see the final photo, I want to be transported back to that place and I want the viewer to see it through my eyes, realistically.

I don't want to create an unrealistic illusion; I want you to feel that you were there with me when I took the shot.