KATHLEEN LARAIA McLAUGHLIN

Happiness Project: I find it inspiring and fascinating to see what we do to be happy. Some of us put on a costume to be someone else, just for the day. I believe each of us deserves to be happy and whatever you may be into that brings you to that happy place, so be it. Some of my happy places are at fantasy conventions, festivals or events. These portraits were made at several Comic-cons in San Diego, the Renaissance Faire in Southern California, Colonial Williamsburg, and other cons in downtown Los Angeles.

Sezatoare Project: This re-photographic project follows my 2011 book, The Color of Hay: The Peasants of Maramureș, which spans an eight-year period documenting farming culture and traditional peasant life in northern Romania. This area is home to some of Europe’s largest traditionally managed grasslands, which store the vitality of summer’s grass as food for the coming years. “Sezatoare,” (pronounced Sha-za-tua-re) is a time and place when women gather to work on weaving, embroidery, and other textile folk crafts while sharing stories. These images are one part of the “Sezatoare” project.

Democracy Project: These decaying statues of former United States presidents were made by Huston-based sculptor David Adickes, measuring in height from 18-20 feet. In 2010, after six years of standing, they were abandoned, due to the lack of financial funding and a lack of interest.

The statues were rescued by Howard Hankins from Croaker, Virginia, about 10 miles from Williamsburg. He hopes to have them rescued and restored one day. The statues are juxtaposed with images of “tent cities” in Los Angeles, CA.

The Color of Hay Project: At the turn of the millennium, for a year of days beginning in the autumn of 1999, Kathleen and her husband Henry lived in a remote village, in the Maramures region of northern Transylvania, Romania. This region is unique amongst the former Soviet Bloc for the way it preserved its way of life. After World War II, for forty years of communist rule, a few valleys in Maramures escaped collectivized farming because of poor soil and hilly landscape. In the post cold-war period, preservation continued because of pervasive impoverishment which slowed the advancement of modernity into the reaches of northern Transylvania.

My Kodak Discs Project: In the early to mid 1980's I loved my Kodak Disc Camera. I thought it was the coolest, slickest, most modern device I owned. I captured images of friends so that I could express my feelings.

I carried the snapshots with me and gave them to friends, hoping to solidify our friendship. These images were made when I was between 13-16 years old. I cherish these photographic objects, as they hold so many dear memories of my younger self.

From the For Sale Project. Romania, 2002-2003

Dr. George Project: Dr. George has been there since day one of the birth of my two sons. He has an uncanny ability to tell you what you need to know before you know to ask. Perhaps we are textbook examples of parents. We welcome his opinions, advice, and knowledge. We trust him and feel grateful for his guidance.  Dr. Nakashima graduated from the University of Hawaii Burns School of Medicine in 1978. He works and specializes in Pediatrics. Dr. Nakashima is affiliated with Children’s Hospital Los Angeles and Good Samaritan Hospital.

Ce sa faci? Project: "Ce sa faci?" in Romania translates to "what can you do?" Another version is "ce sa fac" - "what can I do?" It’s almost a national motto. It is often used in a compassionate and empathetic way and somewhat equalizes the playing field.

Surviving the decades long dictatorship and the harsh realities of post-communism can perhaps be understood with this phrase. The helplessness, disappointments, or frustrations are easily understood when one hears these words.

I met Matusa (pronounced Matusha) Ileana in 1999 when i lived with her sister Maria's family next door. Matusa was not able to have children with her husband Vasile. Every time her cow gave birth she nursed it with a bottle and called it Florica. Sometimes they say at funerals in Maramures that when a childless older person dies, their life had no meaning. This exhibition is a memorial to Matusa because she had tremendous meaning to me and the people who loved her in the village Sarbi.

From the Ren Faire Project