Exhibition Review: Intersections: 20 yr. retrospective of photographs by George Elsasser (2of2)

The  following is:
Copyright (c) 2010, The Virginia-Pilot. Reprinted with permission.
The original article appeared in Port Folio Weekly December 7-14 issue, 1997.

From Stark To Lively, Photographer Captures Life
By Catherine Dorsey

Over the past 20 years, the work of photographer George Elsasser has made the progression from stark black and white photos to painterly Polaroids to brilliantly colored and dreamlike abstractions.  Each stage holds it’s own fascination: Elsasser’s multi-faceted talent is evident in a retrospective on view at the Hermitage Foundation Museum in Norfolk.

The earliest photos in black and white demonstrate the beginnings of Elsasser’s exploration of contrast and form over content, a journey which culminates in the artist’s most recent images called the Colorfield series.  The 1980 image Window isolates one section of a steamed-over glass pane.  A few water droplets course through the intricate pattern made by the steam, leaving their snail-trail on the heavily beaded surface.  The patterns in the corner of a stainless steel kitchen sink become the subject for Sink. The interesting curves and reflections of the slick steel, spangled with a textural coating of shimmering water droplets, are focal points while the object becomes secondary.

Elsasser’s images become more complex as they progress chronologically.  Objects arranged in odd and unexpected settings create a surreal atmosphere.  The trompe l’ oeil effect achieved in the 1992 image No Fish is uncanny.  A pot holder shaped like a fish, at first startling in it’s lifelike appearance, rests in the seat of a molded deck chair.  The simple composition sets a complex chain of thoughts in motion by altering our perceptions of reality.  While the photograph is a color image, the delicately tinted fish provides the only color against the stark white plastic chair.  The viewer tends to first perceive the photo as black and white, which it is not, and the fish as real, which it is not.

Three black and white portraits from the early 90’s are quite natural and have a frank quality that is refreshing.  A series of spontaneous manipulated Polaroids retain the surrealism found in several of Elsasser’s larger images.  In Apple, a bright red apple is blurred into wavy lines while it’s reflection in a stainless steel toaster remains crisp and clear.

Intense color and thoughtful composition are hallmarks of Elsasser’s new large-scale Colorfield photographs, which utilize focus rather than light as tools to shape the image to his mind’s eye.  A few sharply focused details emerge from the blurred and often incomprehensible organic subject matter.  The eye struggles to discern individual objects in these brilliant tapestries of color. Two withered stalks of grass and a pine cone stand in stark contrast to the soft green and brown wash of blurred greenery in Colorfield-56. The viewer becomes a voyeur in Colorfield-72.  A stockade-like row of slender tree trunks are in focus in the foreground, while the sunlit landscape beyond flirtatiously eludes the eye.  The golden vista tantalizes by remaining forever just out of reach.

Catherine Dorsey was in the art gallery business for 12 years. She is a native of Norfolk and has a degree in Art History from University of Richmond.

The Colorfield Series is now called Particle Pool. 


Different review of intersections
Information on Particle Pool

website galleries

02-21-14 (update)

These links lead to my current portfolios and information about them.  If you have any questions please feel free to send me an email.  

I am continuing to improve my new site hopefully making things much easier. I apologize for any inconveniences.  Thanks for visiting.

breakenterhuntgather
portfolio 
about

observing liberty
portfolio 
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Mammals at the beach
portfolio

about

In Step
portfolio 
about 


After 10 years of photographing weddings in a candid style I became interested in street photography. It seems to be a combination of some of my current landscape concerns along with trying to get me into a position that locates people in positions I find pleasing as they visually interact with the landscape.  working portfolio flickr

plane encounters
portfolio 
about

 

fencing flora
portfolio
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Effigies  (2004-)
portfolio
about 

Photographer's Pencil  (drawings:1997-2000)  
portfolio 
about

Particle Pool  (1994-2001)
portfolio
about

Incidents & Intersections (1983-)
portfolio
about

Excavation  (1977-1983)
portfolio
about

arrivals & departures  2013-
working portfolio flickr
about

Leela  2005-
working portfolio at flickr
about

Current b&w  1994-   
working portfolio at flickr          
about




Still Remains  2005- 
working portfolio at flickr        
about

PAINTINGS  (1992-2000) 
portfolio - not shown at this time
about 


This group includes both mixed media, works on paper and paintings on canvas. They as the drawings, were made to aid in loosening and further informing my photographic work. At the time I begun these paintings I felt photography was not giving me the visceral or emotional impact I sought at the time. In addition I really felt a strong attraction to the surfaces of paintings and that language mostly is non existent in photographic prints. When I stand next to a painting (particularly modern ones) I often want to inspect them with my hands in addition to my eyes. Sculpture is almost irresistible in this regard but unfortunately I know better. I wanted a heavier hand so-to-speak with a more blatant emotional energy and wanted to shake my photographic history somewhat. These were the first paintings I had made while not pursuing a formal education other than some I had made during my childhood.

LOOK3 2013

LOOK3 (2013):  June 13,14,15 
2014 will be the year - (3 on / 1 off)

         
I thoroughly enjoyed my time at the 2012 event in fact I cherish it, focus is generally photojournalism with some fine art photographers represented. Remember labels are limiting, I enjoyed all the work and discovered much I was unaware of.  Alex Webb was the headliner for 2012, Gilles Peress and Martin Parr were there in 2009.

I got there late Wednesday evening (Th, Fri, Sat event) left for other places Sunday night and still could have used another day to see all the exhibitions to my liking. So next year I will go at least one day earlier minimum (the Galleries are closed on Mondays) so I can look more while relaxed. David Doubilet the underwater master spoke on Wednesday evening about 7pm. I utilized the dorm deal to save a chunk of money on hotels (very clean each day) small beds but I love photos more than perfect beds.  It seems to be part of the workshop programs that start on the Sunday prior to Festival. 

Another Festival clearly in my sights is Photolucida and is focused on all but maybe a little more tilt to fine art photography. Mike Davis who lived in Portland, OR brought this to my attention while viewing my dummy book.

I was unaware but discovered Donald Weber won Critical Mass an off shoot of Photolucida in 2006 along with 2 others. One of them Camille Seaman (showed at LOOK3 2012) I will blog about in the future. Critical Mass published his book on Chernobyl. Donald and Mike where both editors who viewed my work and many others' work at LOOK3 2012. All you ambitious photographers Critical Mass deadline is 7-16-12.