Members' Choice -- Images That Won Votes
A REGULAR feature of the HCP's Thursday meetings is voting to decide who gets the glory of an exhibition in the members' gallery. On this page we feature work which has been selected for showing, with a statement about each of the photographers involved.
Ron R. Jones is a native Houstonian but has studied and worked primarily in Los Angeles and San Diego. By taking a stark, untouched, natural background and lowering ("as if on a rope by a helicopter") some human element into the picture, he transforms the natural into the unnatural. It is this, he feels, that makes the whole image appear as if it has come from a dream.
Sally Horrigan, also a native Houstonian, has only recently become interested in what many would regard as an uninteresting landscape: the flat and mostly treeless Texas coastal prairie. She originally had no appreciation for the rice farms, tidal flats, or refineries of this environment, or for how humans fit (or do not fit) into it, and believed it to be colorless and lacking in flavor; but her color photographs reflect a new-found appreciation of a subtly varied, subtly changing landscape. It may be trashed up and tramped upon, yet it holds elements of mystery, humor, beauty, the surreal.
Ron Martin became interested in photography white attending graduate school in the San Franciso Bay area, but has only recently become really active. Many of his photographs reflect an aloneness or uniqueness of the individual and result from a period of personal transition for him. For these images he has concentrated on encounters along the Galveston seawall, where visitors can stand out as themselves against the pervading carnival-like atmosphere. Most of the remainder of his photographs are sea — or landscapes, mainly from the northern California coast; he feels they would have been more effective if done in larger format and assembled as groups or "sequences."
Dave Hoffman's color transparencies are from a continuous body of work which began in 1979 in Europe, Central, and North America. All of the photographs are extended time exposures (up to 45 minutes) and are "simple records of static locations and cumulative light": coupling the shift in color temperature of the light with the reciprocity law failure of the film has become the procedural mode for the photography. Color provides the vitality and life in Hoffman's placid scenes, which are devoid of people, but not of their constructions.
Cathy Gubin's photographs reflect her feeling that a woman can be an object only when she is recorded as one, as when documented on film to sell anything from perfume to mufflers. And what if the scene is, in turn, seen as such by a photographer? In her photograph, a young girl in the corner innocently caresses an adult female mannequin, while the photographer records the perfect live version. The model looks up, almost a look of doubt on her face, as if to say, "Does this guy know what he's doing?" And one more impression still; that of the voyeur. Cathy feels that she can be all three characters: the impressionable child, the young sensual woman, and the photographer with a job to do.
By Ron Martin