A FOCUSED VISION
TRE ARENZ, MICHEL DEMANCHE, ROBERT McAN,
LUTHER SMITH, KATHY SUDER, STEVE WATSON
February 11 – March 26, 2005
Opening Reception: Friday, February 11th; 6-8pm
#2 Kudzu, North Carolina 7
Epson Ultra chrome inkjet print
21" x 26"
20" x 20"
Year 5, Day 137
Gelatin silver print
14 3/4" x 14 3/4"
SEE THE ARTIST'S GALLERIES
Tre Arenz’ (1953-2003) often delved into classical mythology for
inspiration for her work in photography. While on a Rockefeller
Foundation Grant in Italy in 1997, Arenz photographed much the
surroundings she encountered. Upon her return, she began to make
small works, tableaus, incorporating the photographs with ceramic
objects. Many of the photographs remain, although much of ceramic
work was incorporated into other works or were destroyed. Other
works in photography were created that utilized Dahl glass, a thick
kiln formed glass. Arenz built a body of photographic work with her
own twist and whimsy. The Austin Museum of Art has recently acquired
for their permanent collection a large installation titled Sameness by
Arenz that includes several large photographs in combination with
For the past five years, Michel Demanche has spent time wandering
back roads, photographng the transormation of natual elements – earth,
air, fire & water. These elements have taken various forms, from things
left by the roadside – often creatures that are most effected by human’s
need for land and space – to abandoned homes. These abandoned spaces,
Demanche calls “in-between” places once claimed by humans and now left
for natural retransformation. Often macabre and haunting, much mystery
can be found in these places of abandonment where the artist finds the
convergence of all the elemental forms. Demanche says, “I purposely do
not disturb any of the spaces, allowing the camera do its work with its
own objective skill.”
Robert McAn creates his photographs rather than merely taking them.
Using cardboard boxes as staging areas, McAn creates dioramas using
miniature items from toy stores and garage sales. The resulting
photographs contain a juxtaposition of cultural artifacts which at
first glance resemble a scene from nature...but upon closer inspection
of the image edge, the scene is only an illusion.
Luther Smith approach to photography is straight forward, no gimmicks,
no nonsense, just concentration on composition and light. Smith has a
deep interest in photographing the south; this interest in the southern
landscape has provided him endless years of documentation, with stunning
results. He has an uncanny knack for capturing a dramatic photograph of
what most people would pass by numerous times and never see the potential
of the image.
Kathy Suder’s artistry is fully revealed in her black and white pieces.
She has an unerring eye for light and shadow, for chiaroscuro as well as
for subtle shadings. The lens is as sensitive to her emotions as a violin.
Suder’s province is people, from all walks of life, simply doing what they
do and being who they are. Whatever the scene before her camera, she
catches the instant of full bloom. An almost palpable spark leaps from
subject to viewer through the alchemy of the photographer’s vision.
Steve Watson has developed his artistic career capturing the unassuming
detail in the everyday visual overload he experiences. Though his previous
works were black and white, Watson’s new color prints are created digitally
from images shot over the last two years. In one series Watson utilizes a
shallow depth of field to capture the small burr or thorn in a maze of
entangled briers. Other prints he has chosen for the exhibition were
taken during two trips to Oaxaca, Mexico, in which he has recorded the
color and beauty of this southern colonial town during a highly ceremonial
time of year.
Previous Gallery Shows
Scottie Parsons: December 3, 2004 – January 8, 2005
Bete Noire: September 18 – October 23, 2004
Surface: June 19 – September 4, 2004
Judy Youngblood: May 1 - June 5, 2004