Photographers add new dimensions to still life
[2008-7-16]
Tag : chinese melon seeds
New owners Dawn Southworth and Dana Salvo, who came to ClarkGallery in April, have added photography to the Lincoln gallery'sportfolio. If "Staged," the current group show at Clark, is anyindication, the new medium hasn't shaken up the gallery'slongstanding aesthetic, conservative in content but beautifullycrafted.
"Staged" is a still life show. John Chervinsky and Cynthia Greig,the two photographers on board, make images that cannily engagedrawing, pitting the two-dimensionality of drawn lines against theillusion of space in photography.
Greig ingeniously sets up her still lifes to resemble drawings,even before she photographs them, by painting objects to give theman illusion of flatness, then outlining their edges. Shephotographs them against a seamless white background, eliminatingspatial clues.
"Representation #55 (Cup Tower)," a stack of cups and saucers,looks drawn in succinct charcoal lines. If this were indeed adrawing, we'd assume she'd added little blots of coffee or lipstickwith watercolor. She did, only she applied it to the cupsthemselves, not the page. The photographic quality remains in someof her images, such as "Representation #63 (Books)," in which shehas made the book covers resemble drawings. The untouchedwaterlogged pages burst out of them, vividly real against Greig'sspare backdrop.
New owners Dawn Southworth and Dana Salvo, who came to ClarkGallery in April, have added photography to the Lincoln gallery'sportfolio. If "Staged," the current group show at Clark, is anyindication, the new medium hasn't shaken up the gallery'slongstanding aesthetic, conservative in content but beautifullycrafted.
"Staged" is a still life show. John Chervinsky and Cynthia Greig,the two photographers on board, make images that cannily engagedrawing, pitting the two-dimensionality of drawn lines against theillusion of space in photography.
Greig ingeniously sets up her still lifes to resemble drawings,even before she photographs them, by painting objects to give theman illusion of flatness, then outlining their edges. Shephotographs them against a seamless white background, eliminatingspatial clues.
"Representation #55 (Cup Tower)," a stack of cups and saucers,looks drawn in succinct charcoal lines. If this were indeed adrawing, we'd assume she'd added little blots of coffee or lipstickwith watercolor. She did, only she applied it to the cupsthemselves, not the page. The photographic quality remains in someof her images, such as "Representation #63 (Books)," in which shehas made the book covers resemble drawings. The untouchedwaterlogged pages burst out of them, vividly real against Greig'sspare backdrop.
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