Untitled (Embedment), 2017
interlock-cotton-embedded, pigmented hydrocal in enamel-finished frame
17 1/2 x 8 1/2 x 2 inches (44.5 x 21.6 x 5.1 cm), unique
(detail)
Untitled (Embedment), 2017,
interlock-cotton-embedded, pigmented hydrocal in enamel-finished frame
31 7/8 x 12 1/8 x 2 inches (81 x 30.8 x 5.1 cm), unique
(detail)
(detail)
Untitled (Embedment), 2017
interlock-cotton-embedded, pigmented hydrocal in enamel-finished frame
32 1/2 x 26 1/4 x 2 inches (82.6 x 66.7 x 5.1 cm), unique
(detail)
Untitled (Embedment Diptych), 2017,
interlock-cotton-embedded, pigmented hydrocal in enamel-finished frame
each: 41 1/2 x 27 1/2 x 2 inches (105.4 x 69.9 x 5.1 cm), overall: 41 1/2 x 55 3/4 x 2 inches (105.4 x 141.6 x 5.1 cm), unique
(detail)
(detail)
Untitled (Embedment), 2017
canvas-embedded, pigmented hydrocal in enamel-finished aluminum frame
30 1/8 x 17 11/16 x 2 inches (76.5 x 44.9 x 5.1 cm), unique
(detail)
(detail)
Untitled (Etched Plaster), 2017,
medium-coated, pigmented hydrocal in walnut frame
90 3/4 x 49 1/4 x 2 3/4 inches (230.5 x 125.1 x 7 cm), unique
(detail)
(detail)
Untitled (Embedment), 2017
interlock-cotton-embedded, pigmented hydrocal in enamel-finished frame
33 3/8 x 17 3/8 x 1 3/4 inches (84.8 x 44.1 x 4.4 cm), unique
(detail)
Untitled (Embedment), 2017
interlock-cotton-embedded, pigmented hydrocal in enamel-finished frame
33 3/8 x 17 3/8 x 1 3/4 inches (84.8 x 44.1 x 4.4 cm), unique
(detail)
Untitled (Etched Plaster), 2017
medium-coated, pigmented hydrocal in walnut frame,
69 x 48 7/8 x 2 1/2 inches (175.3 x 124.1 x 6.4 cm), unique
(detail)
Two things synchronize for me when looking at Pearson's work, work that I have been interested in since his speaking during my time in grad school sometime around 2008. The first thing is his stated interest in the "event/emergence" within the photographic process development seems particularly poignant as an ecstatic image or apotheosis seems apropos. The moment when something starts coming into view, especially as a function of light. cf. Bernini's "Ecstasy of St. Theresa" as just one of many, when/where light instigates great, passionate feeling, also an experiential envelope much the way sound also works, which leads me to the second thing. Pearson's connoisseurship as it pertains to music collecting, vinyl in particular, not only leads me to think about a highly refined palate/taste (highly valuable, collectible objects) but also, more importantly, the surface fetish of speaker covers (another dimension of high fidelity attraction), a black, woven mesh from whence an omnidirectional sound experience emerges much like the appearance of image within the chemical process of photography developing. Thus, it makes sense to me that these works incorporate such a distinct passion for process and emergence especially upon such a meticulously worked surface, whether it be a harder carved plaster or a stained fabric. Indeed, a record is embedded in each of these types and they are quite nice as instances of how abstract conditions of light and dark lean toward celestial/ethereal (universal) while intimating reserved expression. Moody Rothko and much more controlled Frankenthaler come to mind. Associations aside, twilight thresholds seem to move upon optical occlusions.
No comments:
Post a Comment