Works by David Seiler and Adrian Fernandez

also on exhibit: works by Nancy Goldring and Margaret Saliske

opening reception July 17 from 6 - 8pm

July 15, 2010 through August 16, 2010

Carrie Haddad Photographs is pleased to announce an exhibition of works by David Seiler and Cuban photographer Adrian Fernandez, on view from July 15 to August 15, 2010. On display in the back room of the gallery are works by Nancy Goldring and Margaret Saliske. An opening reception will be held on Saturday, July 17 from 6pm to 8pm. All are invited to attend.
David Seiler works in sepia tones and dusty grays, instilling a nostalgia in his photographs, most of which are portraits of one kind or another. The vintage quality that this color palette evokes suggests these photographs were excavated from someone's personal archives, transported from private to public view for the first time. The implied intimacy of this viewing experience lends these photographs a certain poignancy. In RC and Molly, Seiler gives us a formal portrait of a rider on her horse, both figures centered in the composition and turned in profile. The horse feels fixed in place, perpetually still. The rider, on the other hand, undercuts the formality of her erect posture with a rapid—and seemingly accidental—movement of her head. A human presence, emerging from this seeming imperfection, haunts RC and Molly. The most important part of this portrait—for the sake of remembering a person through her appearance—has lost its clarity, and thus been elided by the horse's majestic fixity.
The stark contrast between movement and stillness in RC and Molly introduces a cinematic quality, reinforced by Seiler’s distinctive artistic method: each image is built through the layering of rectangular collage pieces which break the image down into component parts. The image remains continuous; only texture and tone are broken down in this process. In using this technique, Seiler shows an interest in the nature of form, as well as in the possibilities of composing an image: the “break-down” calls attention to the fact that each image, in addition to being a construct, is also a fragment taken from reality, an infinite source of visual material.
In Magnolia, Seiler incorporates one collage piece, which holds inside its bounds the flower’s succulent center. In this photograph, the collage element functions as a lens that visually sharpens the object beneath. It presents the flower’s core in its specificity, playing up the materiality of the flower. Outside of this sharpening lens, the flower fades into obscurity. The photograph, dusty and faded, exhibits its wear and tear. This vintage quality, together with the steadfastness of the photographic medium, is set against the impermanence of the magnolia’s bloom. Movement and fixity, life and death are in tension, imparting a spectral air to these works.

Six vibrant still lifes by Adrian Fernandez, part of a series entitled To Be or To Pretend, provide a complement to Seiler’s sepia tones. Just as Seiler’s photographs exhibit pseudo-wear and tear to belie their modernity, Fernandez’ works feign false identities: after sustained attention, one becomes aware that the blossoms are fake, lifeless. The artificiality in each of these photographs adds dimension to these works, lending them an element of irony and play.

The still lifes are created using objects from the homes of the ‘bourgeoisie’ of Havanna. Treasured antique vases and containers hold plastic fruits and fake flowers – a very Cuban design element. Each container is centered on a colorful and graphic backdrop, each in its particular way a continuation of the flora and fruits they surround.

Fernandez first began the series by photographing the exteriors of the houses and their ubiquitous fencing. As he moved inside to do room portraits, he found himself drawn to the omnipresent centerpieces on display in each home. Fernandez is a young photographer from
Havanna, Cuba. He has recently completed the tremendously competitive master of fine arts program at the Instituto Superior de Arte in Havanna. The gallery is pleased to announce that this will be the first showing of Fernandez’s work in the United States.


Margaret Saliske, a sculptural artist who uses digital photography as a primary element in her work, is presenting a new series titled, “Photo Deconstructions.” In previous work, Saliske has structured her photographs into racks, shelves, slots, flaps, drums, etc., to where they appear mechanical, functional and almost familiar. Often incorporating images of the Hudson River, the surrounding landscapes and the interior of her Greek revival home in Hudson, NY, into her work, Saliske manipulates the photographs in such a way as to rearrange the relationships between objects and space. The new juxtapositions invite the viewer to examine what would otherwise go unnoticed. 

The images exhibited here continue to develop the artist’s interest in combining landscape and architecture, nature and geometry; in making an image both familiar and unexpected. Saliske focuses on landscape because, she says, it is the most spatially familiar, therefore any manipulation creates a previously unknown space. In the still life pieces, light frames an ambiguous area and the cutting and folding of the photograph pushes the relationship between objects further.

Combining vision and revision in drawing, photography and projected images to create pictures and installations, Nancy Goldring has developed a unique method of photographic production. Layers of images, of time, of reality and construction are sealed together by light. Goldring’s early visual work was primarily drawings, but in early 1976, by chance, she projected photographs onto one of her drawing. With the passing of time, the technique became increasingly sophisticated and by 1978, Goldring had coined the phrase foto-projections, to describe what she was doing. To projecting on drawings, she added projecting onto relief models and constructions and photographing the results.

Goldring speaks with pleasure of the slowness, deliberation, chance and inconsistency involved in her technique, and insists that her ideas arise from the work itself. This process now requires that Goldring visit many Southeast Asian sites, so that images from that part of the world co-exist with those from Europe, from art history, and from times and places much closer to home. Each work is an articulation of her desire to retain awareness of the complexity of things as they are.  

The gallery is located at 318 Warren Street in Hudson, NY. For more information about the exhibit please contact us at 518-828-7655.


Artists in this show

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