Photographer
JoAnn Verburg pairs her images from various points, capturing visual echoes of live
performance.
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| Hero (Crucifixion). 2011 |
“'Performance disappears as you look at it,' she is quoted...'It is unique and unrepeatable, and each viewer who sees it sees it from a different vantage point and therefore has a different experience from every other viewer' (NYT).”
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| Hero (Superman), 2011 |
Verburg
is a veteran in doing multiple-image and extending the frame. Her husband, Jim Moore, has long been one her subjects. He is a poet who
has charmingly written on his experience on being a constant subject.
Moore also offers us, a poem on it, at:
“Verburg explains that, in the centre image he seems to share the same time and place with the viewer. 'Finally, in the third photo, on the right, he engages the viewer in the present tense.'she said (NYT).”
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| 3 x Jim, 1989 |
Verburg
maybe found in Minneapolis or in Florida, but generally in Italy where she
and her husband spend extended periods of time.
Diptych of a
gnarled olive tree, Tango/Tangle, 1999, from the
series“Exploding Triptych, 2000”
Spoleto, Italy.
“The
5-by-7 view camera Ms. Verburg uses to photograph olive trees is
designed with the lens mount and the film holder connected to each
other with an accordion-like bellows. They are traditionally parallel
to each other so that every detail during exposure is given equal
focus. The bellows enables Ms. Verburg to tilt the lens and the film
away from each other to alternate the focus within an exposure or, as
she said, to extend “space within the image.
'When
I’m under the darkcloth working, what I’m doing is a little like
what I used to do with clay or wire when I studied sculpture:
torquing the image and squeezing it and stretching it into being more
lively or wacky or improbable...'
To create a stable horizon line from one image to the next, she uses tracing paper on the ground glass, drawing the horizon line in the first exposure so that she can align the second, third and fourth, maintaining a continuity that adds to the sense of movement (NYT).”
“Living —
being alive — is a present-tense enterprise.”
Citing
