Bio
Ennid Berger has been described as a “distinguished Long Island artist” (Newsday).  Photography is her primary art medium.  She continues to explore digital and traditional darkroom printing, cameraless photography, photocollage and photo object assemblage.  She is especially interested in the spatial interplay of figure, form and light.

Ennid has exhibited extensively in solo and group shows in Key West and across Long Island, including the Heckscher Museum of Art, the Parrish Art Museum and the Islip Museum of Art.  Her photographic work has been selected for exhibition in three Long Island Biennials, and her photograph, Construction Singapore, was awarded Best in Show in 2010 at the First Long Island Biennial. Her awards also include having work selected by the National Association of Women Artists for their permanent collection at the Zimmerli Art Museum at Rutgers University.

Ennid studied photography at the International Center of Photography and studied painting with renowned artists Robert Yasuda, Paul Pagk, Betty Holliday and Stan Brodsky.  She is the founder and director of the group of twelve independent artists that has been meeting and exhibiting as the Critique Group of Long Island since 2009.  Ennid is also proud to be a member of Huntington’s fotofoto Gallery.  More information online at ennid.com and on Instagram at @ennidberger

PHOTO ART Statement
The artwork in this exhibition reflects a long-term goal of seeking to integrate my skills as a fine art photographer and as a painter/assemblage artist.  Beginning in about 1998 and ongoing through 2023, I have been engaged in the process of making use of photo assemblage, painting, drawing and collage, with the goal of guiding photographic prints into other spatial dimensions.  These hybrid constructs reflect two additional fascinating concepts: wabi sabi is the Japanese derived aesthetic of accepting transience, incompleteness and imperfection as reflected in the free spirited art here; photomaterialism relates to the contemporary idea of using the photographs as objects themselves in the context of new abstractions whose physicality operates within the spatial limits of the gallery