NKG presents MOVE! an exhibition that relates to movement through space and time. Jeffrey P. Heyne and Rufus Butler Seder, two artists that live and work in New England both use photography as a starting point and challenge the temporal quality of movement. This exhibition will open September 1, 2010 and run through September 26, with opening reception Friday, September 10, 5 – 8 PM
(Images from left going clockwise: Rufus Butler Seder “Figure Descending a Staircase”, Lifetiles, 4′w x 6′h, 2009; Jeffrey Heyne “Muybridge Boxers No. 10+1″, 2009 & “Muybridge Boxers No. 9+7″, 2010, both digital print and polyester resin on Dibond panels)
by Kathy A. Halamka
“We just opened (September 1) a visually energetic exhibition called “Move!” at NK Gallery. The artists featured are Jeffrey Heyne and Rufus Butler Seder. Their images pay homage and play with, in different ways, to Eadweard Muybridge’s photographic movement studies. Jeffrey Heyne was inspired by flip books of Muybridge’s images, and his manipulations bring the frozen images back to movement, then freezes them again in a visually seductive resin surface. Rufus Butler Seder has developed a lenticular form of glass tile he calls Lifetiles, and at his studio creates all the many stages to build both small and very large murals of moving images – one of the ones at NK Gallery evokes the Muybridge Galloping Horse.”
NK Gallery LLC (NKG) was established in 2010 by Natacha Sochat and Kathy Halamka. Our artists represent a broad and vibrant contemporary spectrum of ideas, approaches, and materials.
JEFFREY P. HEYNE
“My current series of works are reinterpretations of Eadweard Muybridge’s stop-motion photos from the 1880’s. It is from toy flip-books of the photos comprising his seminal publication, Animal Locomotion, which my work borrows from.
I am interested in the idea of playing with his iconic images– to make his frozen photos “move” again. Muybridge’s high shutter speeds broke down movement into distinct visual images, separated by equal intervals of time that could be analyzed frame by frame, and to observe a cause and effect sequence for scientific study. From a physical point of view, each of the still images is actually a record of a period of time of about 1/2000 of a second, a short time but still a duration of time. From a phenomenological point of view though, can this freeze-frame image, in a sense, be re-activated to release the latent motion it originally recorded?
With Photoshop, I alter Muybridge’s image by distorting, blurring, warping, stretching, or twisting to imply a sense of motion. I would like to elicit a metaphorical sense of allowing time to re-flow. Like pressing <PLAY> after the <PAUSE> button has been on for the past 125 years.
But how is this new motion read in today’s time? What visual consequences present themselves by re-animating the flow of time? I feel a new narrative is posed by the isolation of a single Muybridge image from the context of its original sequence. My selection of alternate colors further jars the meaning. Effects of blurring and distortion torque the space. Multiple and mirror images lend tension or evoke other pattern-based associations.
With the application of a thick top coat of glossy resin, the picture plane of the photo image is visually slippery, and appears to float somewhere within the thickness. I think of my Muybridge images as cast in another type of frozen state, much like an ancient biological specimen locked away within a piece of crystalline amber.”
RUFUS BUTLER SEDER
“Years ago, as a filmmaker, a fascination with antique motion picture toys led me to wonder if I could create movies on a grand scale using no electricity, moving parts or special lighting.
After some experiment I developed an 8″ square, three-pound, lens-ribbed glass tile, which I called a LIFETILE. By combining many LIFETILES, I found I was able to create large-scale “Movies for the Wall”: optical wall pieces that appear to come to life, move and change when the observer walks by.
Since 1990 I have created large-scale LIFETILES murals for the Smithsonian Institute, AMTRAK, the BART subway system in San Francisco, science museums, aquariums, zoos and dozens of other public places around the world. While I continue to accept commissions, I now also create smaller, limited-edition LIFETILES compositions for galleries and private collectors.
The success of LIFETILES inspired me to develop my own patented line of smaller-optically animated items: CineSpinner™ Suncatchers with images that spring to life in a window when they rotate at the end of their string and Smart Move™ greeting cards with pictures than move realistically when they are opened. I also continue to expand a line of bestselling childrens’ Scanimation® books for Workman Publishing.
When I design any one of my works in these mediums I have invented, large or small, my goal is always the same. I am going for that signature motion that instantly defines the subject to the observer. I want to make you feel the weightless thrill of a dancer’s leap or the elastic coil and spring of a running cat. When I succeed, I feel as though I’ve created a little bit of life itself.”
New toy from Rufus here:
Posted here by Stephen Herbert, website The Compleat Muybridge