Light Like a Feather, Not Like a Bird
Light Like a Feather, Not like a Bird
Adobe Backroom Gallery May 19-June 17, 2012 7-9pm
Opening Reception May 19th with syncopated light and sound performance by Adam Brochstein 8pm
Design by Stephen JOHN Billick
Light Like a Feather, Not Like a Bird features artists Christine M. Peterson, Erik Grow, Scott Polach, Adam Katseff and Scott Alario. When fixated on the swells of the oceanic horizon, what can you determine? In capturing an image, there would be no landmarks to mark a location, only upon looking back onto the land would you be able to discern where you are in the world. The sky is often sited by those experiencing homesickness, knowing that the sun, or stars cast the same shadow across the country, often bringing a sense of comfort to parted family, friends, or lovers.
These images offer a disembodied experience of the landscape; one where the viewer understands what he is looking at, and perhaps even in what part of the world the images are situated, but cannot necessarily determine a specific location. In a time when we have all of the technology in the world to locate ourselves, the landscape remains resilient, the ocean is still the ocean and the sun the sun. We turn to the Internet to see where our friends have traveled to see if we
have been there before, or if we recognize that particular look- out point. This exhibition aims to present the view of the land looking out and up with few markers to determine locale.
Adam Katseff and Scott Alario are good friends living on separate coasts, one on the west and one on the east. Both aimed their large format cameras skyward and synced the closing of their shutters to capture the sun at the same moment in time. Isn’t it incredible, the similarities in the suns appearance and position on the film? Across four different time zones and an entire country, separated by mountains, rivers and lakes noon is noon no matter where you are standing.
Erik Grow uses an instant Land Polaroid to photograph out from Bay Area knowns such as Lands End and Point Reyes. His well-composed photographs execute the narrative of the ocean as it reached the land, which keeps it at bay. You could discern these locations based on some of their markers if strewn from a trail or hiked down a cliff but for the most part the ocean lays claim to its landscape in these instances.
Scott Polach plays with perception in his images from a series entitled Inches Make Champions. These photographs are altered using various techniques to ensure the viewer cannot discern which way is up and/or down. An exploration in a cyclical explanation of landscape offering the ocean and land an equal real-estate in terms of a frame.
A special installation occupying the storefront window of Adobe Books, by Christine M. Peterson, houses a work consisting of slide projectors and images of landscape abroad. She alters the slide projector by removing or altering the lens so the landscape becomes an image of phenomenological memory.
Adam Brochstein has composed a sound experience for the night of the opening. A syncopated light show will accompany his performance challenging the boundaries between audience and performer, thus offering the audience a dislocated encounter with sound and light.