Visions in the Flesh

VISIONS IN THE FLESH
a photographic survey
Exhibition: October 21 through November 26, 2005
MAINSITE Contemporary Art, Norman, OK

Skin, epidermis, flesh . . . the covering on our bodies that not only protects us but keeps us physiologically organized. It varies in color, texture, shape and form and yet retains a mysterious quality. Humans constantly work to maintain their flesh, although it is destined to change with exposure and age. Billions will be spent on products and surgical procedures to remake, reform, reshape and smooth the skin as it marches through time.

An exhibition containing five photographers and their approach to the human nude subject provides the viewer the opportunity to see and compare figurative works. Many photographers create work that goes beyond a simple representation of flesh and form. Each of the five photographers presented in this exhibition approach the nude figure from a different perspective and each finds a method in presenting the subject with varying psychological overtones. Greg Gorman sees the young male figure as transitional, not as boys but not fully matured men either. Melanie Seward's close-up nudes depict shape and form, yet uses recognizable features such as eyes, lips and nipples as sensual, psychological triggers of both question and imagination. Bill Perry's photographs of close-up figures are emotional, ethereal and mysterious. John Seward's double exposures combine the classical female nude with man-made elements; buildings, walls, automotive components and gardens that questions the juxtaposition of the nude with common spatial elements. Jerry Uelsmann has used photography to question what it is we see or expect to see in a photograph. The perceptions reach into your mind as psychologically we interpret the image individually. Uelsmann states, "Ultimately, my hope is to amaze myself". The anticipation of discovering new possibilities is my greatest joy. Gorman says, "A great photograph asks as many questions as it answers".

The photograph is perceived as the representation of a moment in time that existed or is real. . . after all, it must be real. The photo is the documentation of an event. Before the advent of Adobe Photoshop and other methods of conveniently altering pictures, darkroom masters and retouchers were creating new, altered images. Darkroom technique and composited imagery became the tool for Jerry Uelsmann. Through the combining of multiple negatives in the darkroom, Uelsmann's photographs question the reality of the image. Our sense of reality becomes confused which forces the viewer to analyze the information on a deeper philosophical and psychological level. Uelsmann said, "While it may be true, as Nathan Lyons stated, 'The eye and the camera see more than the mind knows', is it not conceivable the the mind knows more than the eye and the camera see?"

Bill Perry's large scale gelatin silver nudes are titled purposely in emotional terms such as 'Rejection', 'The Feeling of Pain', and 'The Prison'. These titles influence the viewer to analyze the figurative work with their psychological overtones. In many of the photographs, the tremendous emotion and power are directly confronting. Coupled with the printing process in which the images were created by exposing the negative through layers of tissue paper, the mood and mystique of the photograph is enhanced and magnified.

Melanie Seward's approach to nude compositions is in light, form and tone. She works about her models studying novel or unconventional approaches as she photographs. The sensual skin is stunningly presented and evokes a certain sense of eroticism by questions raised in recognizable components and their relationship with one another. This series was created in Sicily at springtime and denote a new beginning.

Greg Gorman¹s male nudes from the series 'As I See It' bridges a misconception of nudes in art . . the female form is a thing of beauty and the male nude because of its external sexuality is considered taboo. These photographs are, quite simply stated, beautiful. As Greg wrote in his introduction, "The problem lies in interpretation. A nude should be accepted for its face value - an exploration of the human form in all of its natural glory".

John Seward created a series of in camera double exposures on color negative film using one model and various settings at Cadillac Ranch and in Santa Fe. Greg Gorman said of this series, "Despite the complexity of the technique John Seward utilizes to create his combination of images, his photographs appear deliberate and premeditated. The molding of his backgrounds and subject compliment each other, never detracting or conflicting with each image's individual harmony".

Flesh is a fascinating subject in art and in life. The nude figure, both male and female, should not only convey a sense of beauty but also a sense of wonder on both an intuitive and philosophical level of thinking. Flesh in art and in life is beautiful, wonderful and sensual and should not become a source for religious or political condemnation. The more we are willing as individuals to accept, appreciate and understand the beauty of the human form as well as other peoples, cultures and ideas, the world can become a better place. Please enjoy the exhibition.

written by John Seward