Natasha Otrakji

Lives and works in New York, New York.

notrakji@gmail.com

Born to Lebanese parents in 1987, Natasha Otrakji grew up in Miami, Florida. She moved to Brooklyn, New York in 2005, and in 2009, she received a Bachelor of Fine Arts in Photography and Minor in Art History from Pratt Institute.

She freelanced while working as a photographer and researcher in the Photograph Conservation Department at the Metropolitan Museum of Art. In 2012, she enrolled in the Digital Arts program at Pratt while working as an assistant photo editor and photographer at National Audubon Society, Audubon Magazine.

In 2014, she received a Master of Fine Arts in Digital Imaging and became a professor of photography in the School of Continuing and Professional Studies at Pratt. She curated a solo exhibition of drawing and sculpture by Ryan Scails in 2015. She works as photographer, retoucher and imaging specialist for a range of fine art, editorial and commercial clients, and has participated in group exhibitions in Miami and New York.

The Collector’s Edition is an ongoing project that involves collecting and combining objects and images associated with daily rituals and quotidian scenes. Much of the content is derived from her immediate surroundings and experiences in Beirut, Miami and New York. Natasha is interested in how we control and perceive our natural and constructed environments and also in the practicality and removal of function in reusing ordinary things. Working with photographs, sculptural assemblages, installation and animated gifs, she looks for and usually tries to insert humor in drawing relationships from different places and cultures. 

Other projects include Somethings, an ongoing series of straight photographs and composite images presented together, No Vacancy, an ongoing series of animated GIFs made by replacing motel signs with images, and Stills, a series of photographs taken in Beirut, Miami, and New York, which simply aims to draw similarities in urban life. Objects arranged in everyday scenes are given importance or reconsidered, and the resulting images are intended to look like abandoned film sets.