Michelle Stuart
Mysterious Tidal Fault, 2019
Suite of thirty-five photographs
Approximately: 78 x 80 inches
(GL14863)
“Many of the photographs in Mysterious Tidal Fault are taken off a TV report about the tidal fault off of Valdez Alaska. These photographs are interspersed with photographs Michelle took of ships on the ocean. Without using photoshop, she then altered all the original images by cropping and making them black and white, plus collaging some of them. The images are printed on archival paper and placed on the wall and rearranged many times over in the same way one would work with line, shape, and form in a drawing or painting, and with the same intent of creating a unified composition that moves the viewers eyes through and around it, thus creating the same push and pull one finds in a painting with no traditional perspective, but with depth, pushing back and forward. To some degree chance is involved but it’s harnessed. Michelle has done multiple works on faults going back to the early seventies, including Scanning Sequence (1969-70), collected by the Metropolitan Museum of Art, New York.” – courtesy Michelle Stuart Studio
Mysterious Tidal Fault, 2019
Suite of thirty-five photographs
Approximately: 78 x 80 inches
(GL14863)
“Many of the photographs in Mysterious Tidal Fault are taken off a TV report about the tidal fault off of Valdez Alaska. These photographs are interspersed with photographs Michelle took of ships on the ocean. Without using photoshop, she then altered all the original images by cropping and making them black and white, plus collaging some of them. The images are printed on archival paper and placed on the wall and rearranged many times over in the same way one would work with line, shape, and form in a drawing or painting, and with the same intent of creating a unified composition that moves the viewers eyes through and around it, thus creating the same push and pull one finds in a painting with no traditional perspective, but with depth, pushing back and forward. To some degree chance is involved but it’s harnessed. Michelle has done multiple works on faults going back to the early seventies, including Scanning Sequence (1969-70), collected by the Metropolitan Museum of Art, New York.” – courtesy Michelle Stuart Studio