In the Absence, featuring the art of six contemporary photographers, exhibits works unified by a specific formal approach: images that focus on the interplay between negative and positive space. The artists demonstrate a special sensitivity to the space within the frame, manifested in the composition itself and in the manner of printing.
The discussion of positive and negative is really one of starkly defined visual relationships, not just the opposition of black and white. Though intensely varied in their approaches, these artists all illuminate vital possibilities for accentuating those relationships.
Azariah Aker uses special processing and printing methods that unify this recent series with his previous collodion works. In his piece, Untitled (Moth #1), the definition of white negative space bleeds through the porous moth.
Cui Fei’s works present a vast planar background, which acts as an active springboard for the delicate “alphabets” made of plant material. The juxtaposition allows her to highlight not only visual relationships, but also “relationships between cultural differences[…] and between nature and human beings.”
A fluid interaction between darkness and light defines Luc Demers’ commanding work— in Untitled (Light Creeping Series #4), the bright, forthright fissure captures the eye, but only gains narrative potency from the depth of darkness around it.
Using photogram methods—a camera-free process in which the artist positions objects on photosensitive material and exposes it to light— Anita Douthat records the absence of light as if it were light: the most opaque objects leave the brightest, clearest images. The results are otherworldly impressions suggesting the fugitive nature of material things.
Beth Ganz’s work carefully abstracts images of lagoons, algae, and reflections of the sky into lyrical studies in texture and pattern. Each piece in the exhibition is a four-part photogravure series, offering a carefully calibrated progression of tone and contrast. Her consideration of positive and negative in complex combination is impeccable.
John Willis repositions a distinctly physical moment in terms of light. In the River Family series, the tonal gradient from the murky water to the brilliant bubbles transforms the corporeal experience of entering water into a visual marvel.
In the Absence will be on view from January 10th through February 17th, with an artists’ reception on Saturday, January 10th between 6-8 p.m. The reception is open to the public. Gallery hours are Tuesday – Friday, 10 – 5 and Saturday 11 – 6 p.m. For more information, see the online gallery at spherisgallery.com.
