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Surface Jed Fielding Facades 1977-2011

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20120409133912-01--4812
Aswan #31 Photograph © Courtesy of the artist and Chicago Art Source Gallery
Surface Jed Fielding Facades 1977-2011

1871 N. Clybourn Ave.
2nd floor
Chicago, IL 60614
April 19th, 2012 - June 23rd, 2012
Opening: April 19th, 2012 5:00 PM - 8:00 PM

QUICK FACTS
WEBSITE:  
http://www.chicagoartsource.com
NEIGHBORHOOD:  
North Side
EMAIL:  
abbe@chicagoartsource.com
PHONE:  
773-248-3100
OPEN HOURS:  
Mon-Fri 10-6; Sat 10-5; by appointment
TAGS:  
photography

DESCRIPTION

“Jed Fielding and Ginny Sykes have had a deep and long-standing friendship for more than thirty years. They have shared a common passion for the photography of Aaron Siskind (with whom Fielding studied extensively, and formed a close relationship with until Siskind’s death in 1991), as well as for world travel with a particular emphasis on Italy. Sykes’ work utilizes a wide variety of media and approaches, while Fielding’s photographs articulate a very specific aesthetic and concern.

Despite the apparent disjunction of these two close friends’ work, there is a shared facility for abstraction, formal composition, and, foremost, a passion for pushing the viewer to look at what is before them. There may be occasional overlap, such as when Fielding’s photographs of walls’ surfaces echo Sykes’ painterly abstraction, or when her dance-like gesture of primal forms hints at his photographs of trees, but this is most likely incidental, the result of their shared aesthetic and way of looking at the world.”

“Fielding’s body of work titled Facades hints at a metaphor for a key concept in all of his work   ̶  a throwing down of the gauntlet, the notion that the very act of seeing is thrown into question. In these works the outsides of things are replete with content and reference to a world, both inside and out, of places and feelings. Though perhaps better known for his portraiture, these photographs’ extraordinary formal beauty belies their transference of character into place. Fielding has traveled the world and managed to transcend merely capturing the exotic by a sense of assurance that has him finding his perfect moment, not merely in a formal confluence of light and shade and composition, but by what speaks to him, regardless of the inherent beauty, history, function or psychology of the place in question. These qualities may indeed be imbued in the photograph, but what most engages us is their ambiguity and his aesthetic of looking that overrides the specificity of place. In a sense they thus become what some have posited of all art, a self-portrait. So it can be Rome or Mérida or Aswan ̶ it matters more that we are drawn into his acute sense of looking at the world with fresh eyes. The challenge is made: what is it we are viewing?—and, most importantly, what do we see?