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The exhibition features a series of large scale photograms focusing on the stretch of the Columbia River from the Hanford Reach to its mouth on the Oregon Coast. The one-of-a-kind camera-less photographs were made by submerging up to 8’-long sheets of photosensitive paper directly in the water at night, exposing them to a flash of light and then developing the silver-gelatin prints in the darkroom. The work is related to the artists’ earlier collaboration, Shadows, which evoked the shadows left by victims who were vaporized by the atomic bombings of Hiroshima and Nagasaki. (Not merely incidental to Columbia River Shadows is the fact that the plutonium for the bomb dropped on Nagasaki was developed at the Hanford Nuclear Reservation, on the shore of the Columbia River.) Reflecting on interdependence, this project alludes to such interrelated themes as migration, water politics, the Great Pacific garbage patch and the atomic era.

CONNECTIVE UNCONSCIOUS:

June 27th-july25th

Opening reception June 27th 7pm-10pm


Connective Unconscious, an exhibition of digital animation, installation and objects produced by Carl Diehl over the last seven years, queries the “psycho-social externalities” of networked culture— examining unforeseen consequences and opportunities in the proliferation of mobile, network-enabled screens.   The works in this exhibit trouble the habitual modes of technological consumption and perception, estranging and amplifying the mediating presence of mobile devices.

In the Landscape Anarchitecture series, a certain loss of one’s “sense of place” is addressed in relation to the competing presence of simultaneous viewpoints that conflict with one’s perception of an immediate reality. Here, realist modes of compositing are employed to recast suburban vistas as sites, and sights, of psychological duress.  Employing extensive digital de-composition, images of mundane backyard scenes and quiet neighborhoods are broken apart into discrete parts, manipulated at frame-level and then spatially re-aligned.  Temporally, the sequences of elements are intentionally desynchronized, quietly dislocated from their grounding in a singular sense of “here” and “now.”

In the [hetero]topiaries series, the prescribed use and familiar modes of social interaction surrounding mobile phones is directly challenged.  Smartphone equipped visitors are encouraged to search for and display visual components on their device, physically arranging and visually annexing their own display screens to the partially formed image exhibited at the gallery.  Although the mediating presence of digital devices is involved in this work, interactivity in this context privileges physical actions-necessitating social interaction and exchange within the immediate presence of the work.

In Atemporal Views, Diehl retrieves the mid-century cultural craze of “Paint by Numbers,” appropriating both the algorithmic and posterized aspects of this process to construct a provisionally bucolic vista, a temporary constellation of coherency, fit for those seeking refuge in continuous partial attention.