|Preece, Woodland, 2014|
Nolan Preece continues the sequence of interpretive landscapes that we first saw in his piece at Soho Photo last fall, this time at the Wickiser Gallery on 11th Avenue in New York where he comfortably shares the spotlight with four other photographers, each bending the rules of photographic art in their own way.
Preece however goes beyond the facile jockeying of pictorial motifs so often encountered in abstract photography, and indeed such as even seen in some of his own early works from the 80s and 90s. With these pictures, evidently his mature style, he has found a way to turn his chemigramic language around and redirect it to concrete issues of ecology. Somehow - you have to stare at these pictures for while for the sensation to grip you, but it will - he manages to draw the viewer into a ragged, moon-struck environment at a level that is close to the ground; we feel the way a small breathing creature must feel, a bird darting in the brush, a small snake, a muskrat, though none are seen; it is a world under our eye but totally alien to our species, devoid of humans. In this way it becomes uncanny, and this in turn is responsible for its strangely compelling hold on us. We should get used to it he seems to be saying.
|Preece, Valley, 2016|
|Preece, In the Grove, 2014|
|Preece, Moonrise Over Chemigram, 2015|
The prints are enlargements from scanned original plates, i.e. the primary chemigrams on paper, and are available in two different sizes according to taste. Prices framed range from $1300 to $2500. The prints are on Epson Exhibition Fiber or Epson Premier Lustre, depending on size and the printer used. Original plates were either Kodak Polycontrast or Ektalure G.
Nolan's site is www.nolanpreece.com.