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Woodruff, on the other hand, throws reality to the wind. John Woodruff, “Arrangement #23,” 2022, inkjet print, 40 x 30 inches But what, in truth, can we really hold onto forever? On another level, these works question a generally unchallenged assumption of traditional photography as a medium that captures the reality of a moment, freezing it in time for perpetuity. The basic image remains, but its supposedly incontrovertible reality at the time of its occurrence is shaky at best and likely no longer relevant in the same way. Both, like Porobic’s images, are layered with initial impressions filtered through imprecise recollection, intervening experience and retrospective understanding. The resulting photographs are fuzzy and indistinct, much – as it happens – like our identities and memories. It’s like silkscreened colors not meeting exactly along the initially determined areas of color of the original artwork from which it is being reproduced. But it is complete in a whole new way, since in the printing process lines, colors and sections don’t neatly conform to their original margins. Porobic may do this some 40 times until the image is complete. He can then isolate another area and/or color and feed the previously produced partial image into the printer so that the second programmed section prints on top of the original photo. The artist can isolate certain sections, colors and/or pixels within the digital record and then print just those out.

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Then he takes this digitized image and combines it with his master printmaking skills. He shoots common items and phenomena that he sees outside his studio: the sky, the surface of the water, a truck, an Adirondack chair. His process is also an examination of his own identity as a Bosnian American. Porobic’s work deals with how our minds construct and record an image, as well as how the brain reconstructs it as memory. That was just about chronicling time (as well as diverting attention from the art as object).ĭamir Porobic, Untitled (Adirondack from memory), 2014, archival pigment composite print, 32 x 44 inches

If that were so, they would not be much different, conceptually speaking, than On Kawara’s “Date” paintings, which he began in 1966 and continued doing until his death in 2014. The serene beauty of these works is not that they represent a record of a specific time of day. This means that light within any two panels is always a slightly different quality and tone from the space between the next two panels. The light reaching the back of one panel will reflect that color onto the front of the next. Light hits each of these panels in different ways, temporarily coloring them. His camera is set up at one end, framing this succession of windows. He cuts square windows in panels of white cardboard and lines them up, one behind the other, with space in between, placing them on an axis with the open sky.

But Albers used paint to achieve these ends, while Demurs, more poignantly and lyrically, harnesses light and time.įor his “Ambient” series, Demers shoots outdoors. Albers incisively mined the subtlety of relationships among gradations of shades, as well as the deeper impact (emotional, psychological, physical) those gradations had on the human psyche. Yet these are so much more than just formulaic combinations and re-combinations of hues that investigate the effects of color on our perception. It was the work I was immediately drawn to, despite the bold, almost Baroque ebullience of Woodruff’s fabricated images of flowers, which are certainly more overtly arresting.ĭemers’s allusion to Joseph Albers is, at least superficially, obvious: juxtapositions of colors in a square-within-a-square format. In the case of Demers – whose work, to me, is the most impactful in the exhibition – the images represent the confluence of process, ephemerality and poetry (not necessarily in that order). And in one instance, it is a devised system for expressing the infinite changeability and mystery of natural phenomena (Demers).

Still other times it’s simply about radically narrowing one’s focus to a minute detail of that which is encountered (Bullock). Other times it is about abstracting light and landscape through motion (Goodbody). It can be consciously contrived (Woodruff) or deliberately deconstructed (Porobic). Each of the photographers represented on the MMPA’s walls – Brendan Bullock, Luc Demers, Damir Porobic, John Woodruff and Barbara Goodbody – approaches his or her work through a unique process.