The Photography of Lois Greenfield
Sep 15 to Dec 10, 2006 – Daytona Beach, Florida
This new presentation of Lois Greenfield’s work brings a fresh perspective and conceptualization developed by Lois’ collaborator, the Canadian artist Henry Jesionka.
For this exhibition Jesionka has re-visionned Greenfield’s work into “galleries” that move beyond any one single image or instantaneous moment. These galleries become a resonant field of forms and figures, rhymes and configurations with sections and movements intended to form shifting structures of concept and design. Within each series Greenfield and Jesionka have orchestrated changes of scale, placement in sequence and configuration to create dynamic and very “musical” forms.
The metaphoric potential generated for the viewer by each series is also inflected by Jesionka’s gallery titles:
EUCLID’S DREAM
Conceived by Henry Jesionka, This kinetic installation re-animates Lois’s images which appear on each side of a plexiglass cube. Each image is set adrift in space and time by the subtle movements of the cube, Dancers appear to float amongst one another forming spontaneous, dreamlike compositions. This “mechanical” installation stands in deliberate contrast to contemporary “digital” renderings of space and time. the installation was conceived of in direct reference to the origins of the mechanical image in the landmark experimental nineteenth century.
HUMAN MOTOR
Greenfield has taken the exploration of human locomotion into the 21st century. She reconfigures the human body into a motif of motion. The phenomenal world in front of Lois’ camera would seem to be an oscillating moment caused by the interaction of complementary components, a moment trapped between a suspension of time and gravity , light and dark, between formation, disintegration and reformation.
THE CONVERSATION
One looks within the frame to identify characters. In a whimsical way the characters and their gestures aspire to suggest narrative. The series might conspire to create a plot.
TIDAL PILLARS
Statuesque images that evoke the elemental forces of wind, water and fire. The photographs capture in a single interval the trajectory that movement traces within time.
TEMPLE PULSES
These images explore the coexistence of the infinite and the momentary in gestures that strive for transcendence.
RESONANT INTERVALS
This installation uses sixty-four individual images, each of which is strongly evocative of calligraphic markings and the form of an ideogram. The overall composition is tightly structured with layered correspondences, shifting orientations, echoed gestures and movements. Complex linear and modal relationships allow the viewer to experience both a highly structured intentional form and an open grid that is responsive to the viewer’s own configurations and framings.
SACRED GEOMETRY
The realm of geometric proportions are expressed in the human body. Patterns, intervals and relationships give rise to harmonic waves of energy, forming the basis of a canon.
FRAMING TIME
We can only see the passage of time, not time standing still. Yet 1/2000 of second, when photographed , not only reveals what the naked eye can’t see, but ironically gives it more solidity than it had as a fleeting instant. Outside the grasp of human perception. these stilled moments were not meant to be seen.
Resonating Fields is available for touring. Please e-mail greenfieldstudio@loisgreenfield.com for information.
Southeast Museum of Photography
1200 W. International Speedway Blvd
Daytona Beach, Florida
www.smponline.org