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Trees II
Twelve years ago, in June of 2006, the gallery curated an exhibition entitled TREES. The show featured the works of 25 photo-based artists. TREES II, opening June 2018, will be exhibiting the works of 40 artists, many represented by Gallery Kayafas as well as invited guests. All artists were asked to respond to the notion of “Tree”. Over 55 pieces, including photographic processes from ambrotype through 3D Images — paintings, works on paper, and sculptures, both still and kinetic, will fill the gallery!
TREES II exhibits a wide selection of photographs. The 27 photographers work in a variety of processes including gelatin silver prints, pigment inkjet prints, photogravures, and alternative processes. The earliest images, from the 1870s, are Woodburytypes by Andrew Young. Young photographed specimen trees in Wales and Scotland from 1870-1879. N. W. Gibbons has employed early alternative processes making landscape ambrotypes, wet plate collodion tintypes, and salt-prints toned in gold.
Eight of the photographers work in traditional gelatin silver. Included is a beautiful print by Aaron Siskind, The Tree #35, (Martha’s Vineyard), 1972, and an intimate 6x6” vintage image of Aix-en-Provence, France, 1958 by Harry Callahan. A 1986 photogravure by Lee Friedlander, Tokyo, 1977, from his series Cherry Blossom Time in Japan reveals tonality as delicate as its subject.
Jerry Uelsmann, Frank Egloff, and Caleb Cole combine images either by the layering of actual objects or collaging in the darkroom using multiple enlargers. Uelsmann’s work, made before Photoshop, produces optically combined gelatin silver photographs using multiple enlargers each with an original negative to be seamlessly printed onto the same sheet of gelatin silver paper. This labor-intensive process can sometimes take up to 18 hours to finish the small edition.
The photographers who are working in color demonstrate a broad range of effects and possibilities: Yoav Horesh’s Rosh Hashana Dinner (45 Minutes) Zofar, Israel, is a timed exposure! The outcome, the tree is in perfect focus while the family blurs as they move around the table during their meal. Viewing Matthew Gamber’s The Field (2), is a rewarding visual puzzle with an astounding revelation when viewed with 3D glasses.
The Endless Tree, is 80” tall! Meg Alexander’s tree grew from India ink, acrylic gesso, and absorbent ground on Nepal paper, while Catherine Headrick’s delicate, detailed etchings measure just 4x3” on 6x5” paper.
Cristi Rinklin’s constructed abstract realities are sourced from details of paintings, scenic wallpapers, and collected photographs…her color palate adds a playfulness to the viewing experience. It Turns Out That Liam Loves the Neighbor, Daphne Confar’s painting, reveals Liam standing in front of his home, tie blowing in the breeze with a naked tree behind.
Like modern dancers, Jospeh Wheelwright’s hand-carved Manzanita Tree figures appear as captured moments, still, buth with a real sense of dynamisim. Steve Hollinger has created two msied media sculptural pieces which react to light and change, even while being viewed. And for a comfortable vantage point, we invite you to take a seat on one of Andrew Mowbray’s pieces, A Milk Crate Tree of Heaven.
Over 55 pieces and no two trees are the same! Artists are a wonderful resource, give them a concept, TREE, and they will provide endless examples.