Lutter uses the camera obscura, the most basic photographic device, to render in massive form images that serve as faithful transcriptions of immense architectural spaces. The camera obscura was originally developed during the Renaissance as an aid in the recording of the visible world.
She is best known for monumental black-and-white photographs of cityscapes. Her unique silver gelatin prints are negatives made by transforming a room into a pinhole camera obscura chamber. Directly exposed, often over many hours, onto photosensitive paper, these vistas appear as solarized images, their ethereal platinum tones imbuing the scenes with a haunting melancholy. From an early concentration on the Manhattan skyline, Lutter has turned lately to more industrial sites, including a dry dock, a zeppelin factory, an airport runway, a marina and a deserted warehouse. The last colour images shown here are from a suite of nine ordinary photographs.
1997 Rockefeller Center, 30 Rockefeller Plaza
2000 Kvaerner Shipyard, Rostock IX
2001 333 North Michigan Avenue, Chicago
2003 Holzmarktstrasse, Berlin
2003 Pepsi Cola Interior XXII
2003 Studio IX
2005 San Marco, Venice XIX
2006 Rheinbraun XVIII
2006 Rheinbraun XVI
2007 Campo Santa Sofia, Venice XXIII
2008 Ca del Duca Sforza, Venice
2008 San Giorgio, Venice IX
2008 San Giorgio, Venice XVIII
2009 Linger On
2008-9 Samar Hussein suite of nine prints (giclee)
Mohammed Jassim from Samar Hussein suite
Muna Taha Abbas from Samar Hussein suite
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