Excerpt from the “Specter” suite, “Underwood” 2019
Excerpt from the “Specter” suite, “Dissolution” 2020
Excerpt from the “Specter” suite, “Nightfall” 2017
Excerpt from the “Specter” suite, “Hidden” 2019
Excerpt from the “Specter” suite, “Visitant” 2017
Excerpt from the “Materialization” suite, “Untitled” 2020

Alexa Jade Frankelis is a researcher and visual artist based in New York City. Before
attending Stony Brook University where she received her BA in Art History and Criticism
(Hons.), she had also attended the BFA Photography and Video program at the School of Visual
Arts. There she learned the same techniques and processes that spirit photographers and other
artists from the nineteenth-century had used to create their images. She has shown her work in
both institutions and galleries like Paul W. Zuccaire Gallery, the School of Visual Arts, and
Stephen Romano Gallery. As a researcher, Alexa has had her writings about witchcraft, spirit
photography, and other occult subjects featured in Blurred Zine, Crisis and Catharsis, the
University of Edinburgh. Most recently she has collaborated with Stephen Romano Gallery to
create a virtual project titled, Apparitions, with some of the works featured here You can find
more of her explorations into these eras on her Instagram, @TheMourningMoon.

Artist Statement:
The above images are currently featured in a collaborative project with Stephen Romano
Gallery titled, Apparitions. I like to think of the camera as another form of communication. The
first spiritualists were heavily influenced by telecommunication technologies of the
mid-nineteenth century like the telegraph. The Fox Sisters first interactions with the ghost of the
peddler were labeled as the “Rochester Rappings”. Adapting with technology, the camera could
be viewed as a planchette, but at the same time it isn’t such a different concept from the spirit
photographers of the late-nineteenth and early-twentieth centuries. Green-Wood, acting as a
refuge for those in the Victorian era and for me presently, evokes this connection to the past and
enables the use of a camera as a tool of dialogue to convey messages from those who are
departed.

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