November 09 - December 17, 2005

Andrew Wright | Photographs

> opening Saturday, November 12 | 2 - 6pm

Saturday December 3rd at 2 pm,
artist talk and a glass of wine.

Acknowledgments: 
Canada Council for the Arts
Sonia and Richard Carty

CATALOGUE LAUNCH:
Blind Man's Bluff Andrew Wright
Featuring the essay The Artful Doubter by Robert Enright

A new publication of the Kitchener Waterloo Art Gallery. This handsome volume, designed by Jay Wilson, includes a DVD with the original work in its entirety and the complete descriptive screenplay.

Acknowledgments:
The Kitchener Waterloo Art Gallery
The Waterloo Regional Arts Fund
The Ontario Arts Council

Official distribution by ABC Art Books Canada 
www.ABCartbookscanada http://www.ABCartbookscanada

Tuft, 40" x 52" 2005
Lightjet prints on Fuji Crystal Archive Paper edition of 5

Eastern White Pine #2, 47" x 61" 2005
Lightjet prints on Fuji Crystal Archive Paper edition of 5

Boulder #1, 40" x 52" 2005
Lightjet prints on Fuji Crystal Archive Paper edition of 5

Tuft, 40" x 52" 2005
Lightjet prints on Fuji Crystal Archive Paper edition of 5

Eastern White Pine #1, 52" x 40" 2005
Lightjet prints on Fuji Crystal Archive Paper edition of 5
Prairie Skies 16” x 16” 2004
Gelatin Silver Prints, edition of 10

Prairie Skies I - XVII 16” x 16” 2004
Gelatin Silver Prints, edition of 10

Andrew Wright’s recent images of pines, boulders and rock use artificial light to reconstruct a sense of the staged, the protected, the artificial, and the segregated. Wright’s objects and settings, both living and inanimate, are presented as pre-formed, illuminated, and plastic. By the simple addition of artificial light into so-called natural and even remote locales, Wright’s images encourage a reconsideration of existing space that is disconcerting and beautiful all at once. They posit nature itself as a series of vistas constructed solely for the eyes, designed to be consumed and knowable within the bright glow of highly controlled illumination.

“Wright’s photographs reprogramme the activity of the eye in such a landscape, preventing us from distraction, imposing a particular kind of dramatic attention. Having had the scene narrowed and focused for us we teeter back and forth on the edge between the sublime and the tableau.” (– Kim Simon)

Also included in this exhibition are selections from Prairie Skies, a recent series of vignette-like images of clouds. Shot using a cookie tin as a pinhole camera, these majestic and lustrous formations appear on dark grounds, removed from their real-world context. The result of a single day, these images simultaneously document their actuality while suggesting lyrical fictions.