JOHN SMALLEY
artist / teacher
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Exhibition: 23rd September - 31st October, 2022 (POSTPONED)
Nature // Culture
Dream // Memory
Word // Image
Drawings, Paintings, Photographs,
Collages & Assemblages
by
J o h n S m a l l e y
23rd September - 31st October, 2022
{Twice postponed due to Covid)
The Greene Gallery
St. John’s International School, Waterloo, Belgium
Introduction
“To fathom what can be fathomed and to reverence the unfathomable,
that is the thinker’s purest joy”.
- Goethe
"The best studio is the mind.”
- Claudio Parmiggiani
As a thinker and an artist, I have long been fascinated by the astonishing variety of creative expressions humans have explored. Everything created is another language of sorts. In my most recent work, I have endeavoured to create dialogues across time and mediums through collage, drawing, painting, photography, and assemblage.
Within the space of the Greene Gallery, I want to celebrate the fruits of our culture, our arts, our literature, our spirituality. I have created an environment full of quiet conversations between images and objects. I am visiting here, the intersections between culture and nature, dream, memory, and myth. Our own preconceptions about nature create “lenses” through which we see the world. I want to shine light on those preconceptions and open up routes towards new ways of seeing. Perception is always layered with aspects of memory, myth, and dream. These are the intersections which fascinate me.
This work engages in active interventions: moving found objects and images into new spaces or contexts, or fragmenting them. I work with “cultural artifacts”: photographs, diagrams, architectural fragments/ornaments, bells, clocks, tools for charting and measuring, lenses of various kinds ( encouraging the viewer to experience a certain level of “detached objectivity” ). The work invents puzzles & games, it presents objects which seem to be in the process of transitioning into other things. You will find here reconstituted book covers, letter form arrangements, fragments of 18th century hand-written documents and Huguenot hymn books and music manuscripts.
My work explores some of the ways humans deal with what we think we know and the great tug of what we can never know. Some may feel that this gallery has become a "museum in miniature”, a Kunstkammer of sorts. My hope is that you experience it as an opportunity to consider and to contemplate our “ways of knowing”, our own limitations, and our own possibilities.
John Smalley
September 2022
Images from the September-October 2022 exhibition ( twice postponed due to Covid), at
The Greene Gallery, St. John’s International School, Waterloo, Belgium:
In-gallery working studio set up… for my photography demonstrations and collage construction… it was an enormous pleasure just to be in this space with the light flooding in… the wooden birds were made and installed by a previous visiting artist...
Black Clock Reliquary ensemble
The lost spire of Notre Dame
Collage construction table
The table of lenses / viewfinders / stereography / Claude glass mirror for my talks on looking / SEEING / interpreting ...and how images travel through memory, time and space ...
The Group Portrait 'curatorial study' section of the exhibition ...
The Group Portrait: A curatorial Study
Kinship & Belonging
The Hutchinson Family Singers, New England, USA
Whole plate Daguerreotype 1845
Collection of The Metropolitan Museum of Art, New York
I love the leaning heads, the holding of hands, and this gentle touch to the temple…
This photograph prompted the beginning of my exploration of group portraits in the history of photography.
These 19th and early 20th century group photographs are from my collection of daguerreotypes, ambrotypes, ferrotypes, albumen prints, stereographs, and period family photographs. In teaching photography, and employing cameras of all kinds, including view cameras, twin lens reflex cameras and equipment which requires decidedly ‘slowed down” operations in order to obtain images, I began to become aware of many of the remarkable characteristics of traditional photographic processes and conventions, and also of the persistent presence of the “uncanny” which seems to hover at the edges of conscious perception as one examines many vintage photographic portraits…a presence which for me, has acted as an invitation to enter moments distant in time, social spaces, emotional/psychological spaces…
"The best picture we have of the Soul is the Human Body…"
- Ludwig Wittgenstein
“All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.”
- Susan Sontag
“ A photograph is something that makes invisible its before and after."
- Jeff Wall
A group of friends, Upstate New York circa 1918
Great Aunt Nellie at the centre. She was 105 years old when she gave me this photograph in the late 1980s… as a young woman living in New York City, she made her living fashioning marionettes and porcelain dolls’ heads…
“A painful Punctum… from these images, I compute the inexorable extinction of the generations…"
- Roland Barthes
May Day celebration crowd, Champaign, Illinois 1921
A group portrait as much about hats as people?
Five and six year olds looking at the photographs ...
they absolutely LOVED looking into the STEREOSCOPE
In all of my recent exhibitions, Ive been making an attempt to create a kind of “environment” where the unexpected can occur… pushing beyond the idea that what we see here is the work of a “landscape painter” or a “draughtsman" or a “collagist”, allowing for the possibility that everything shown here represents aspects of a kind of “multi-disciplinary’ approach to thinking, looking, making, collecting, curating, presenting, etc., which might yet lead us to towards taking in the kind of “multi-dimensional” reality that life actually offers us… I want all these images and “things” to sit next to one another, to speak to one another, to suggest connections and intersections.