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Brittany Volquardsen was born and raised in Texas, and is currently based in Salt Lake City, Utah. She studied photography and went on to earn a Master of Fine Arts in 2012 from Aberystwyth University in Wales, United Kingdom. Brittany was a featured artist in 2012 for the Graduate exhibition curated by Peter Finnemore at the Wales Millennium Centre in Cardiff. She was later selected for the Bountiful Davis Art Center 2016 Annual Stateside Competition exhibit.

Since childhood, she has rummaged through antique stores for forgotten treasures with her mother. She discovered that despite her inability to draw by hand, photography granted her a creative outlet. She gravitated to the practice of photomontage in the genre of surrealism. Inspired by her collection of old photographs, and her connection to her own family history, she began to illustrate a whimsical memory for the numerous unknown faces, and even those of her own clan.

The underlying motif of Brittany’s work pivots on personal history and identity which becomes lost, found, and in flux over the years. As one wanders through life, impressions are left behind, one's story shared over and over and time often wears away at the details, if not forgotten all together. She feels a kinship with the strangers in her collected photographs and has adopted them to her own tribe. This connection ignites a peculiar awareness and delight in the kaleidoscope of imagination as she creates for them, an otherworldly adventure.

"...Brittany Volquardsen’s digital prints, which were again some of the best pieces in the show. ‘One, Two, Three’ consists of three stern-looking Victorian girls each wearing many more hats than necessary, juxtaposing their emotions with their absurd attire. This imaginative and playful sense of humour runs through her work – in another unusual scene, a man nonchalantly hugs a large, monocled bird. If a photograph (and especially an old one at that) documents truth better than the fallible human memory, Volquardsen asks if we can really even trust what we see documented."

-- Wales Art Review, 2012