Above: Untitled (Afterlight), Epson Ultrachrome K3 ink on photo paper, 93.5×60, 2014
Below: Earthrise/earthset, two channel video, 45:00, dimensions variable, 2014
Completely love the Scott Nedrelow exhibit Afterlight that’s at David Petersen Gallery. It consists of six large paintings and a video installation and is truly one of the best shows I’ve seen in a while.
The paintings are made from a “post-photographic” process in which Epson printer ink is applied to photo paper with an airbrush. The photo paper is is rolled into a a double tube-like shape and sprayed. When it’s unrolled, two very subtle dustings of color are present. But barely… barely present and barely registering as color. It’s hard to tell them apart, even when you’re standing in front of them as, by the time you’ve turned to look at an opposing wall, you’ve forgotten any characteristic that might make each unique.
The video installation, Earthrise/earthset, is comprised of two large flat panel monitors leaning slightly against a wall in a back room. On one screen, ocean waves are quietly breaking onto a sandy shore, the other is the same scene, but much darker and the horizon line at a completely different position on the monitor. As you continue watching, one horizon line over water slowly goes up while the scene gets darker, the other slowly goes down while the scene gets brighter. Each monitor trading, back and forth. Scott created these videos by mounting a camera on a device that astronomers use to compensate for the earths rotation.
Last week I came across a John Berger quote from “Ways of Seeing” that seemed to perfectly point at this work: “The relation between what we see and what we know is never settled. Each evening we see the sun set. We know that the earth is turning away from it. Yet the knowledge, the explanation, never quite fits the sight.”
The pairing of these paintings and this video work is perfect. Both present poetic qualities of imperceptible change. Looking at two things that you know are at once both the same and different. The slow looking required forces a sort of empty focus that feels gentle and meditative.
If you have the chance, be sure to see this work.
Please enjoy the time and space.