Transcription and Text: Henri Abideau
Contributing Editor
* After reviewing about twenty photographs, I have chosen
three to help define the Nearscape as a conceptual point of view
On A Clear Night
Nearscapes... are essentially the nondescript structures we pass momentarily on the way to other places
They are sometimes off to the side of a road or in the
maintenance area of a municipal building, tunnel etc
I can best describe some of them as a series of aging Control Panels
slathered in protective paints- often attached or suspended from corroding structures of steel and concrete
Basically, it is a cluster of practical time-proven technologies on its last leg of functionality... just prior to an upgrade or replacement but not necessarily -
* How do these images relate to the new series of photographs going on display at the Galerie?
They are exploratory steps in an uncertain direction... each of them having components of an engineering or industrial nature
Structures that contribute to a particular emotional color (not a literal color), in terms of how we might perceive... or interpret this type of technological environment
The Motorman
* There's a noticeable difference in the composition of some of these photos. The Jesus Tube for example, seems to be lacking a central theme... was that deliberate and what is the Jesus Tube?
Yes... the image lacks a certain focal point and is basically a one dimensional backdrop for a recent collage
What is does have- is a fair number of planes and right angles, perfect for inserting photo elements needed to create a visual dialogue and story-line
The term Jesus Tube originated in a New York Subway... more accurately, after taping a music video called Lorraine in the bathroom of my studio at the Ruxton on 72nd Street
Le Tube de Jésus
État Corrosif de Béton et d'Acier
A number of the scenes were shot using a lens that had a tunnel effect when zooming out. I think it was the death scene with Gilda dans la baignoire, that brought the concept home
"As the actress was taking her last cinematic breath, smoke was being pumped into this confined area. When the camera pulled back, it created a tunnel-like pin hole effect that captured the moment"
We then cut to a series of flashbacks and peppered the scene with close-ups of Don's performance while fading out
During the playback... we stood captivated by the woman with a shaved head, as she gracefully departed. That, and the soft colored clouds embracing her body- sealed the day's production
I believe it was Don (a songwriting partner) who referred to the final scene as, Gilda in the Jesus Tube... and thus it remained
Catherine G
Featured Photographer and Visual Artist
Certain Days Go From Top to Bottom
As a Multimedia Author living in France
Catherine specializes in Visual Analysis and Infographics
Her articles contribute to Newspaper, Magazines and Radio
Additional Credits
Lorraine: performed by
Morphine Sally
Music and Lyrics
Don Greene and Bill Cote (Madder Rose, Saint Low, Jazz Canon)
Cassandra Landau - Gallery Coordinator
Surface Treatment: A
Surface Treatment: B
