Patricia Wallace, Garden of Exile, Jüdisches Museum
Story by Ashley McConnell
The kind of architectural photography that commands my attention requires a high degree of patience and technical and artistic skill. Behind every compelling image of architecture stands a dexterous photographer with a keen eye for lighting and pattern, for elements that repeat and stand alone, and for structure. I know this because, to be frank, I am easily bored with mere pictures of buildings.
Yet how do photographers look at structures that are usually made of straight lines, grey bricks, flat surfaces, with fixed meaning and purpose and find a way to capture a deeper significance? One way is to interpret and depict familiar (and unfamiliar) buildings with strong personal, cultural and political associations; to explore the subtler and more obscure functions of time in the architectural subject.
Berlin—an upcoming group show by the four members of Studio 255 and curated by Michael Tardioli—is one such deeper examination of architecture found in one of the world’s most famous and infamous cities. The show opens Thursday, December 9 at Exposure Gallery, 6 to 8 p.m.
In Berlin, photographers Barbara Bolton, Abigail Gossage, Leslie Hossack and Patricia Wallace level a sustained focus on urban landscape and architecture, capturing images of well-known buildings, in a well-known city. But rather than merely document the buildings and settings, the photographers approach their subject matter intimately.
“This is not what a tourist would see,” explained Gossage.
Each photographer confronts Berlin as a place where history (as mentioned in the exhibition’s artistic statement) cannot be hidden behind the layers of its subsequent ages. Hossack’s exploration of Nazi-influenced architecture, for instance, led her to well-known landmarks such as the iconic 1936 Olympic structures. Hossack was clearly interested in how these monumental works were designed to, in her words “intimidate the individual and enhance the state.”
The contributions from Bolton and Grossage struck me as intimate portraits of the urban landscape, with great attention paid to the range and effects of light and pattern. Wallace’s images carve out extraordinary scenes, separating man-made structure from the surrounding natural elements in a staggering and cohesive style.
After starting out as essentially hobbyists, the four members of the Studio 255 group have earned acclaim for their respect of the language of photography, their discipline, and their shared goal of creating meticulous fine-art prints.
Such dedication to craft caught the attention of Michael Tardlioli (director and lead instructor at the School of Photographic Arts Ottawa) and his initial role as teacher quickly transformed to that of mentor, coach, and curator.
“These women are proving that a devoted work ethic and having a respect for the process and nature of photography comes into play,” said Tardioli. “They are aware of their capabilities when it comes to production value, they know their limitations and so they work on that. They’ve accepted my indoctrination of getting to a point of producing critical work.”
“I think our commitment certainly isn’t unique, but the four of us are really dedicated to the print as an object and the image on the wall, because that’s what we love,” Hossack added.
Berlin is the result of one of many photographic adventures that the members of Studio 255 have shared. While all are retirees over the golden age of 50, Hossack points out that “It seems like we are not known for our age as much as our willingness and enthusiasm to get out there and do a project like Berlin.”
Though they plan the trips and travel together, in interviews the members talked about the importance of their independent work when actually shooting.
“When we are in these cities we don’t photograph together,” explained Wallace. “We’ve done our research so that when we go, we are focusing on our own sub-themes within the greater theme we’ve decided on.”
After shooting alone, the photographers reunite each evening to share their experiences and reactions. In this way they co-create the memory of having done four different trips to the same city.
Berlin was curated by Tardioli as a classical view of architectural photography, examining both the “historical concepts and aesthetic possibilities,” he explained. What casts this series as images of importance are the sub-text and dialogue accompanying the exhibition. Berlin is a multi-layered look at a city that has undergone much change and reform, where the structure and monumental buildings offer an intimate tie to the past.
Leslie Hossack, Entrance Plaza, Berlin Tempelhof Airport
Leslie Hossack, East Gate, 1936 Berlin Olympic Stadium
Abigail Gossage, View of the Garden of Exile, Jewish Museum
Abigail Gossage, Bunker Interior, Home of the Boros Collection
Patricia Wallace, Holocaust Tower, Jüdisches Museum
Barbara Bolton, Neue Wache
Barbara Bolton, Holocaust Memorial
