PIERRE SIEDEL: Paris-Beijing Photo Gallery

Still / Moving - 29, Pierre Siedel, 2008
C-Print Size A: 96x120cm Edition: 5 Size B: 64x80cm Edition: 7

Still / Moving - 04, Pierre Siedel, 2008
C-Print Size A: 96x120cm Edition: 5 Size B: 64x80cm Edition: 7

I like how Siedel has isolated stationary objects from a sea of moving objects. There is a definite separation and erie silence that results.
In these photographs, the subject in the midst of the bustling is being stripped away from his/her surroundings, transcending space and time...Being isolated from the rushing crowd, one feels alienated, lonely, detached even abandoned. In this artificial universe, the underground transit bubble stirs the mind to a kind of self-reflection. I thought it would be interesting to explore through photography such absurd places like the subway where everyone is running in the same direction and never stops.

ANDY LOCK: George Eastman House

Andy Lock (English, b. 1969). UNTITLED. From the series: Orchard Park, 2002. Chromogenic color development print

I think what is most attractive about Lock's image (untitled) is that there seems to be an underlying narrative lurking in the shadows. I also enjoy how the silhouetted empty chair presents a stark contrast to the hazy lime light surrounding it. It is both repulsive and seductive.

Orchard Park continues Andy Lock's photographic exploration of the psychological legacies of previously inhabited spaces; taking as its subject dispossessed domestic interiors and the artifacts left behind by past occupants. The exhibition makes use of a unique process for creating unfixed images and engages with notions of entropy, decay, loss, and memory in relation to the photographic image.

SAUL LEITER: Gallery Fifty One

Title: Untitled (reflection)Year: 1950\'sEdition: 10Medium: Chromogenic print, printed laterSize: 50 x 40 cm

Leiter's image (untitled) is enticing because it distorts foreground and background creating visual movement and tension between the two. The incorporation of backward text, a checkered taxi, and unknown textures presents a conjunction that seems unsolved in a curious way.
Saul Leiters vision is founded on his rapid eye for absorbing spontaneous events. Confronted by a dense web of data, fleeting moments in space and time, he employs an array of strategies to capture urban visual poetry that is by turns affectionate, edgy and breathtakingly poignant.