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Printed directly onto aluminum, the surface of the photographs feels liquified, almost mirrored.
They are objects, and their materiality reminds you of what is missed when you only see images.
He used Kodak Gold vacation film from my childhood a consumer-grade film whose darks slant toward green.
The difference in temperature between the warm and cool illumination carves the image volumetrically.
The candy-colored imagery recalls James Bidgoods filmPinkNarcissus(1971) and R.W.
FassbindersLola(1981), whose extremes of artifice evoke heat waves of lust.
The viewer is positioned as someone cruising, catching glimpses.
Leifheit has an encyclopedic knowledge of homoerotic photography.
Its a miniature forest with full-sized people already good.
The low horizon very psychological.
Nicole Wittenberg likes to quote Oscar Wilde: It is only shallow people who do not judge by appearances.
The true mystery of the world is the visible, not the invisible.
Shes fascinated by them all because of how they look.
Entering the space, three more towering figures come into view.
All are made with wax and dark pigment on canvas.
Wittenberg says theyre an attempt to expand the marks and speed of her ink studies to environmental scale.
I had never really seen drawings get that large in those terms, she explains.
I wanted to see if it was possible to create an almost monumental process.
To accomplish this, she started building her own tools an assortment of modified brooms shaped with scissors.
InElizabeth(2018), a slightly waving vertical line renders a three-quarter profile.
Swift strokes materialize irises, eyelids, and brows with the speed and accuracy of a champion fencer.
The result is an openness and sense of inevitability.
Within these distinctions, questions of likeness become energized, especially in the wake of photography.
That is where the emotional content of the picture enters.
you might feel the coldness of a relationship immediately, almost before you perceive the art itself.
It just comes down to attraction.
