Last weekend marked the opening of "Welcome To the Jungle"
from Forest for Trees, a collective of photographers based in the Twin Cities. The show, which is hosted at Cult Status Gallery, exhibits work featuring a great variety of styles. However, all of the artists display an acute attention to detail, and as a whole the collection offers some lovely work.
Several of the artists featured in the show demonstrate a talent for capturing moments in time. Scott L. Demeranville
's two photographs of dishes sitting in a sink full of bubbles creates a bit of wonder in a mundane task. The dishes are elevated from their rudimentary domesticity to become objects beauty. Demerandville also has some extreme close-up shots of other kinds of bubbles, including those from cappuccino, beer, club soda, and used toothpaste, all of which are remarkably mesmerizing.
Stephen Stephens and Hilary Lund take on more picturesque material in their landscape photography, but each are able to capture images that are unique to their point of view. One particularly effective photograph by Stephens features a cinder block sitting amidst a bunch of tall grass with mountaintops in the background. The artist has a keen eye for noticing the curiosities around us that most people would probably overlook.
Also in the show are several light drawings by Brian Hart
. The composites are made up of 24 photographs that together create images of hands in different positions. Hart provides an explanation of his process in creating these wonders that is a bit hard to follow. However, it doesn't matter. They are pretty amazing, even if you don't understand how on earth he was able to create them.
Like Hart, Tim White
focuses in on body parts -- hands, feet, faces, and so forth -- and has a strong grasp of lightness and darkness in his work. He also captures gestural moments -- an expression of the eyes, a tension in the hands -- that clue the viewer in to a larger world of the subject.
Finally, there's the work of Rhea Pappas
, whose c-prints are displayed in the first floor of the gallery. At first glance, Pappas's pieces looks like they could be taken from a glossy spread in a fashion magazine. The ethereal underwater images of beautiful woman floating amidst bridal veils, scantily clad in lacy boy shorts and white swimsuits is a bit too pretty, too polished. There's a deeper undercurrent in her work, though. The beauties are trapped in the fixations of societal norms. They are in fact fighting to break free into the light.
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