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Reference to the Classics II
Laura Letinsky's elegiac photographs of detritus on a table-top are both elegantly prosaic and art historically resonant in their reference to Dutch vanitas still life painting of the Seventeenth Century. Letinsky's choice of objects is compelling for the potential of both implicit narrative and the creation of visually challenging compositions. Lyrical and formal, the subjects are dissolved by varied colours of light, often set off against white walls and tablecloths whose angled shadows and subtle textures add a further dimension to Letinsky's unusual perspectival presentation: a glass perched precariously by the edge of a tabletop, a fruit hovering above its expected visual plane or a wilted flower gazing at its younger self in the trompe l'oeil of a tissue box. The vectors of Letinsky's composition defy gravity, definitive narrative and even the arresting temporality of photography itself. (James Hymann Gallery, London Art Fair 2010)
Laura Letinsky's elegiac photographs of detritus on a table-top are both elegantly prosaic and art historically resonant in their reference to Dutch vanitas still life painting of the Seventeenth Century. Letinsky's choice of objects is compelling for the potential of both implicit narrative and the creation of visually challenging compositions. Lyrical and formal, the subjects are dissolved by varied colours of light, often set off against white walls and tablecloths whose angled shadows and subtle textures add a further dimension to Letinsky's unusual perspectival presentation: a glass perched precariously by the edge of a tabletop, a fruit hovering above its expected visual plane or a wilted flower gazing at its younger self in the trompe l'oeil of a tissue box. The vectors of Letinsky's composition defy gravity, definitive narrative and even the arresting temporality of photography itself. (James Hymann Gallery, London Art Fair 2010)
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