Headlands (Outcrop), 2011
Archival Pigment Print
36 x 36 in.
Ed. of 5 + 2AP
Aurora Green, 2007
Archival Pigment Print
28 x 28 in.
Ed. of 10 + 2AP
Trace (Blue), 2008
Archival Pigment Print
28 x 28 in.
Ed. of 10 + 2AP
Norquay (Yellow), 2007
Archival Pigment Print
36 x 36 in.
Ed. of 5 + 2AP
Ferns II (MacDowell), 2012
Archival Pigment Print
30 x 30 in.
Ed. of 10 + 2AP
Tree (MacDowell), 2013
Archival Pigment Print
36 x 26 in.
Ed. of 5 + 2AP
Blue Ice, 2004
C-Print
20 x 20 in.
Ed. of 5 + 1AP
Miwok Trail, 2010
Archival Pigment Print
31.5 x 40 in.
Ed. of 10 + 2AP
Ferns (for Francesca), 2012
Archival Pigment Print
50 x 40 in.
Ed. of 5 + 2AP
Fish II, 2003
Archival Pigment Print
28 x 28 in.
Ed. of 10 + 2AP
Headlands II, 2009
Archival Pigment Print
40 x 31.25 in.
Ed. fo 10 + 2AP
Wendover (Ammunition Storage), 2012
Archival Pigment Print
32 x 40 in.
Ed. of 10 + 2AP
Stream (Orange), 2009
Archival Pigment Print
40 x 32 in.
Ed. of 10 + 2AP
Horseshoe Lake, 2013
Archival Pigment Print
50 x 40 in.
Ed. of 5 + 2AP
Rodeo Beach, 2009
Archival Pigment Print
39.7 x 50 in.
Ed. of 5 + 2AP
Edgewater (Diptych), 2013
Archival Pigment Print
50 x 80 in.
Ed. of 3 + 2AP
Sous Les Etoiles Gallery is pleased to present "Scenes," opening Thursday, May 29, by American landscape installation artist and photographer Barry Underwood. The exhibition marks the photographer’s first solo show in New York City. An Artist’s Talk will also be held on Monday, June 2, 7-8pm.
Drawing from his early theatrical training, and influenced by historical methods of staged photography and constructed set design, Barry Underwood seeks to transform ordinary, everyday vistas into unique, and often surreal, experiences. "This tension between the familiar and the surreal gives the images a strange power," Underwood writes. "I fashion these scenes by immersing myself in a place, instinctively reading the landscape, and then altering the site through LED lights, luminescent material, and other photographic effects. In the final prints, lights and alterations appear as intrusions, transforming landscapes into abstract images."
Both Underwood’s installation process, which uses actual structures and may take several days to complete, and his documentation, employing long exposure times to harness the area’s ambient light, rely just as much on the artist’s ability to harmoniously collaborate with nature as disrupt it. “Each photographic image is a dialogue—the result of my direct encounter with nature and history,” the artist explains. “Curiosity about ecological and social history of specific places drives my work.”
His photographs are made in various locations around North America, with many on artist residencies. He has been an artist-in-residence at The Banff Center for the Arts (Canada), I-Park Foundation (CT), Headlands Center for the Arts (CA), The Center for Land Use Interpretation (UT), and The MacDowell Colony (NH).
Barry Underwood’s work can be found in the collections of The Cleveland Museum of Art (OH), Elton John Photography Collection (Atlanta, GA), The Museum of Fine Arts (Houston), TIAA-CREFF (New York City), and the Rockefeller Family Art Collection (Petaluma, CA), among several others. Barry’s work has also been reviewed in numerous publications, including Color Magazine, the London Times, Spectrum Magazine, Photo+ (Seoul), Picnic Magazine (Tel Aviv), and Vision Magazine (Beijing), as well as featured in Real Simple Magazine. He has been awarded the Creative Workforce Fellowship through the Community Partnership for Arts and Culture (OH), The Cleveland Arts Prize for Visual Arts (OH), and the Ohio Arts Council Individual Excellence Award (OH). Barry Underwood received his Masters in Photography from Cranbrook Academy of Art.
