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Reviews
"Logophobia/Logophilia" is a show of works on display in Amarillo College's Lynn Library Southern Light Gallery.
Fear of attraction to speech, or words, is the title's reference. Which is strange, because words are in most cases rather minor parts of the images - including the title of each piece, in tiny letters on the bottom left of imagery that seemingly "floats" in its frame.
They're photographs, digital pictures made from imagery printed onto canvas and cut, often irregularly, to seemingly drift as "hazy reservoirs of ideas and ideals that both inform and confound."
Freeman's Statement with the show concludes with "I am interested in these convolutions and complexities, because I hope to find quiet patterns which will reassure me that the works' subjects are not so angst inspiring after all."
Metamorphosis, Pollyanna (blind optimism), tongues, and locations including Granada and the Alhambra, are "subjects" of the images. But those are only parts; I feel the images are basically musings on personal experiences and/or feelings they've generated.
It's a world of suggestions more than of facts. The color and tonality of "Logophilia Metamorphosis," along with its bird and flower imagery, give this image a bright, uplifting quality, as opposed to the darkness predominating in other images...
-Hunter Ingalls - Amarillo Globe-News |
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Interesting word, "engage." As used by Capt. Kirk in "Star Trek," it meant "on to other worlds and spaces." Which is the case if one goes from the museum to Amarillo College's Lynn Library Southern Light Gallery and Enrico Pozzoli's "Around Water" display.
The "engagement" in Pozzoli's images is not with clear excerpts of reality, but with softly focused, dream-like equivalents of what's "real." As if light and time were proclaiming dimensions of their own, in an altered state of awareness.
We see things - water, boats, jetties, people - but always through a veil that's similar to the original French Impressionist vision. Water-rippled reflections in "Gleaming Light on the Prow" are equivalents of Monet's germinal inspiration.
Light takes on different aspects: lake-like breadth in "Black Steamer," and intensely contrasting, broken strips in "Gleaming..." Those are among the north wall's six images, where people are absent, while across the room all seven photos contain people.
Or spectral distensions of people, their figures attenuated, as in the sculptures of Giacometti. They seem to drift, or float, perhaps "poetically." The procession of figures up and across in "The Small Bridge" struck me as deftly comic, whereas the spectral presences in "Walking the Wall" and "Low Tide" appear as participants in dreams.
Pozzoli's is a symbolic, allusive realm of imagery.
Considering both shows, two biblical phrases come to mind: "Let there be light," and "...many mansions." -Hunter Ingalls, Amarillo Globe-News |
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"...The current photo show in Amarillo College's Lynn Library Southern Light Gallery is "Recurring Dreams - Persistent Colors" by Jon Plasse of New York.
"This project starts with images of seemingly unimportant and unrelated objects ... yet, look closely, and you can see the recurrent rich and unexpected colors interact with intense textures, coalescing into images that ... engage me on a visceral level," Plasse said in commentary with the show.
He also refers to his "own psychological landscape," which sounds a bit like art psychospeak, but how else to refer to a personal fascination which impels him to zero in with camera on fragments of our environment of which most of us would take no note?
The (digitally enhanced?) colors join with textures to create here harmonies, there contrasts, which engage our eyes with intense visual sensations. Dreams? Perhaps, for Plasse; for myself, experiencing his "finds" was ample reward for viewing." - Hunter Ingalls, Amarillo Globe-News |
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"...Abstract patterns seem to intrigue South Carolina photographer Terri Bright in her "Untitled Stills" show in Amarillo College's Lynn Library Southern Light Gallery. But her comment, "I am a stranger in most of the places that I photograph," in a statement with the show, brings other factors into play.
The subjects of her 6-by-8 -inch images are incidental: empty chairs in a room, fallen leaves, a bare hanging bulb in a hallway.
But in each case, tones of soft light and muted color evidence a gentle spirit quietly finding imagery that jibes with personal feelings.
"Unfamiliarity breeds in me feelings of both discomfort ... and excitement," she further explains. Aloneness and isolation may be felt as sentient overtones to these untitled images, but qualities of exploration and discovery inhabit them as well..." Hunter Ingalls, Amarillo Globe-News |
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"Jim Jordan's show, "The Edge of Access," is now displayed in Southern Light Gallery in Amarillo College's Lynn Library. Further back on the same floor, in space adroitly reorganized last year for exhibitions, is another "edgy" exhibition of pastels and drawings by Victoria Taylor-Gore, entitled "Passages."
Jordan's display is 18 tiny images: 35 mm black and white contact prints from a Widelux panoramic camera.
They're of sites around the Panhandle, ranging from Amarillo's Memorial Park to grain elevators in Dawn and a highway overpass at Kaffir Switch, north of Tulia.
"I view tiny images of objects long before I get close to them," Jordan states in a commentary accompanying the show. The photos function as equivalents for the visual experience of approach from a distance, rather than as documents of proximity..." - Hunter Ingalls, Amarillo Globe-News |
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Reviews