“Ryan McKellar: Metaphysical Landscapes,” Room 100, Golden Belt, 807 E. Main St., through Dec. 11.
Kevin Logghe collects all sorts of stuff, stashing it around his house/studio. When he begins composing with his camera he identifies the things he needs and brings them out to use as still life objects. In this show, Logghe has pulled out a number of objects to show the genesis of some of his compositions. In particular are the two photographs, “Revealation” and “Watcher.” In “Revealation,” a man’s face appears through the torn edges of wrapping paper and in “Watcher” the man’s face moves into a blurry background as a beautifully formed sculpture of the head of a woman floats in the right foreground. Accompanying the two photographs, and hung beside them, is a large unfinished 1940s painting of an unknown young man, bought at auction some years ago, and on a table in front of the two paintings is a female mannequin’s head without its wig. The artist shares with the viewer the objects he has incorporated into his compositions; the object becomes the image which morphs into a new object.
Following his collecting passion to an unusual conclusion for a photography exhibition, Logghe begins his show with an assemblage of objects he calls his Dutch cabinet. Spilling out of a beautiful wood chest is the artist’s 21st century version of what a 17th century Dutch merchant might display in his home. Natural elements from exotic places, like sea shells, dried flowers, even stuffed animals would have been in the 17th century cabinet; here there are shells and a petrified starfish. There would be classical marble busts, and Logghe has one of those. The Dutch merchant might collect porcelains and silver; Logghe has filled antique frames with a number of his 21st century photographs; there is even a knock-off of a Quija Board. It is this passion for collecting that sets the theme for the show.
As we move through Logghe’s photographs we realize he has floated some of his photographs in stunning black frames, carrying on the idea of object/image/object. He also has a wall of photographs done up in antique frames.
Logghe also collects photographic techniques, like platinum palladium and lith printing.
Using digital photography in concert with other more traditional hand processes is, according to Logghe, what current photography is all about. There is no either-or anymore: It is not whether to use digital, it is about using every technique available in any combination possible.
The photographers who visit will be interested in the techniques Logghe uses, especially the various effects he gets through the lith process. For example, in “Witness,” Logghe “snatched” the photograph from the “infectious development” (terms he used in explaining lith printing to me) giving us a final image of a disembodied spectral head.
For the photography aficionado but not necessarily a technical expert, these are not the usual atypical landscapes or road signs that become unusual patterns. These photographs are narratives. There is a story, for sure, about the angel who sits with head in hand or the one who leans over. Or in “Empty Gesture,” there must be a tale behind the angel whose spread arms reveal no hands.
The photograph that gave me pause is “Damage.” The wigless mannequin head reappears here in profile; her perfect face marred by a gash across her neck and part of her cheek. I immediately thought of the famous Egyptian sculpture, “Queen Nefertiti,” considered the most beautiful woman in ancient art, whose perfect features have been spoiled for 3,000 years because she has only one eye – the empty socket is there but the eye was never finished. Do the gods make sure perfection is not possible?
Although Logghe is into various photographic techniques, his final images are about stories he collects; the exhibition then is all of a piece, collecting objects or ideas, making them into images that become new objects.
Since it was Third Friday I left midtown and went to Golden Belt where the artists were revving up for a busy night. I talked with painters Matt Tomko and Chad Hughes, who are high on this artist venue. Scrap Exchange and Liberty Arts have moved in around the corner and a restaurant is definitely on its way. In Room 100, where there is always a special exhibition, Ryan McKellar was showing his paintings. McKellar is an abstractionist whose work moves from loosely stained canvases to very precise geometric forms, which he titles “Metaphysical Landscapes.” His two techniques could not be more different. Each technique will have its advocates. My personal choice is his spontaneous work.
Blue Greenberg’s column appears each week in Entertainment and More. She can be reached at blueg@bellsouth.net or by writing her in c/o The Herald-Sun, P.O. Box 2092, Durham, NC 27702.
