photo-eye Gallery is excited to announce Yosemite: Seeking Sublime, an online solo exhibition by Utah-based photographer Edward Bateman.
Awe-inspiring, enigmatic, and alluring, Bateman's distinctive prints, created by photographing 3D models, are thoroughly contemporary in their concept and methodology. Produced during the ongoing pandemic and with limited possibility of travel, Bateman crafted the work using geographical data and a 3D printer. The artist's unique process yields captivating, abstract images depicting plastic filaments that explore the concept of the sublime through representations of the majestic landscapes of Yosemite National Park.
This thought-provoking exhibition opens Saturday, November 14. It uses photo-eye’s revolutionary new VisualServer X website builder and is the second in a series of photo-eye's major online shows.
 |
| Half Dome Singularity No. 1, 2020, archival pigment print with 3D printed landscape, 8 x 10 inches, edition of 10, $800 |
Mountains and nature have long been places of peace and refuge. During this pandemic, due to lockdown and quarantine, they have been denied to us. There are few emotions about places for which adequate single words exist. At the beginning of the eighteenth century, the word sublime arose to describe the feelings that the natural world can evoke.
On my kitchen table, I have been photographing the grandeur of Yosemite National Park, long immortalized by photographers from Carleton Watkins to Ansel Adams. Using geographical data from the internet, I used my 3D printer to try to capture something of the sublime in bits of plastic. With clouds from a small fog machine, I create atmospheric perspective.
This will have to do until we are once again allowed to travel freely. Until that time, I will continue to explore this imaginary landscape. —Edward Bateman
 |
| Edward Bateman with Covid Beard |
About the Artist
Edward Bateman is an artist and professor at the University of Utah.
His practice often pushes the boundaries of photography with his use of
uncommon processes and technologies such as 3D digital modeling. Through
constructed and often anachronistic imagery, he creates alleged
historical artifacts that examine our belief in the photograph as a
reliable witness.
In 2009, Nazraeli Press released a signed and numbered
book of his work titled Mechanical Brides of the Uncanny, that explores
19th-century automatons as a metaphor for the camera, stating: "For the
first time in human existence, objects of our own creation were looking
back at us.”
Bateman and his work have been included in the third
edition of Seizing the Light: A Social and Aesthetic History of Photography by Robert Hirsch. His work has been shown internationally in
over twenty-eight countries and is included in the collections of The
Victoria and Albert Museum, The Museum of Fine Arts Houston, and Getty
Research among others.
• • • • •
All prices listed were current at the time this post was published.
For more information, and to purchase prints, please contact Gallery Director Anne Kelly or Gallery Assistant Patricia Martin, or you may also call us at 505-988-5152 x202