max l adams

1:1 Aspect Ratio

This series draws from the vanitas still life tradition, in particular the Spanish bodegón, as well as the documentation photography of Eadweard Muybridge.

Both are concerned with perception, relying upon the same visual vernacular to communicate their findings. In each the focal point is centered, staged, highlighted, and displayed against a bold backdrop. They are at once subjective and objective in their reporting, albeit partisan: painting is largely viewed as a subjective practice, whereas photography is conflated with objective truth.

The bodegón tradition and the documentation photography of Muybridge each employ the black backdrop. This staging links these two traditions, yet it is employed for differing purposes. In both, the backdrop frames the subject/object in high contrast. The bodegón backdrop is solid, often suggesting a depth of field. Meanwhile these documentary photographs are gridded, calculated along a flat armature. The black is dramatic, moody, emotional. The black is likewise functional, sterile, empirical. The backdrop is both theater and laboratory.

This sequential still lifes study plays upon these two traditions. The still life props are drawn against the gridded backdrop. The vessels are delineated by the play and measured motion of light and shadow across their form.

16:9 Aspect Ratio

Contributing Pottery

sequence 1.

Ceramics:
Miscellaneous - Artists Unknown

Lighting:
One Candle Framed
One Bulb Unframed, Right

sequence 4.

Ceramics:
Candle Holders - Nick Moen
Cups - Jeffrey Linton
Pitcher - Jeffrey Linton

Lighting:
Two Candles Framed
One Bulb Unframed, Left

sequence 6.

Ceramics:
Candle Holders - John Vigeland
Vase - Daniel Johnston

Lighting:
Two Candles Framed

sequence 7.

Ceramics:
Candle Holder - East Fork Pottery
Bowl - Matt Jones
Plate - Matt Jones
Tea Bowl - David JP Hooker

Lighting:
One Candle Framed