EXHIBITION OF PHOTOGRAPHY
"THE FACES OF
ANGUILLA"
To be displayed in the
arrival lounge at the
Anguilla Airport at the end
of November 2003
photography by George Krause
exhibition by Julian Davis
SFUMATO
ARRIVAL IN ANGUILLA
Julian
Davis, local resident of Anguilla brainstormed and set things in motion for the
creation of the exhibition �Faces of Anguilla.� Julian studied at the
University of the Arts in Philadelphia, Pennsylvania along with classmate of
George Krause, now one of the most gifted and celebrated photographers in the
United States. Julian developed the idea for an exhibition of "THE FACES
OF ANGUILLA" and invited George to visit Anguilla. George immediately fell
in love with the concept and agreed to come to Anguilla. He arrived in August
2003 during Carnival and immediately went to work bringing all of his camera
equipment including his "light box".
George,
with Julian as his guide and assistant set up the light box at Sandy Ground,
Meads Bay, Rendezvous Bay Hotel and other locations and photographed every
Anguillian who walked by. After his seven-day stay, George had taken over 200
photographs of Anguilla faces. When he returned home he began the tedious
processing and development of the 3 feet wide by 4 feet high powerful and
strong black and white photographs.
With
the cooperation of Mr. Remington Lake, The General Manager of Anguilla's
Airport, thirty six (36) Sfumato portraits will be hanging in the Arrival Lounge
at the airport for all visitors to view and to be welcomed to Anguilla.
George
Krause has donated these photographs to the people of Anguilla for their
enjoyment and posterity of Anguilla's heritage.
George
Krause's dream doesn't end here. His dream is to return to Anguilla to complete
his exhibition in the departure lounge and the main terminal
�
For
a sneak preview of the exhibition click here: http://www.georgekrause.com/exhibitions-future/1.htm
BIOGRAPHY OF GEORGE KRAUSE
George
Krause was born in Philadelphia. Pennsylvania in 1937. He received a four-year
scholarship to the University of the Arts in Philadelphia, where he studied
painting, drawing, graphic design, sculpture and photography. It was not until
he served in the United States Military, from 1957 to 1959, did he begin to
devote his interest and talents to photography full time.
George
Krause became one of the nation's gifted photographers. He received the first Prix
de Rome and the first Fulbright grant ever awarded to a photographer, two
Guggenheim Fellowships and three grants from the National Endowments for the
Arts.
His
work is represented in collections at The Museum of Modern Art in New York; The
George Eastman House; The Library of Congress in Washington D.C.; The
Bibliotheque Nationale in Paris; The Philadelphia Museum of Art; and The
Carpenter Center for the Visual Arts at Harvard University.
George
Krause, until he retired, was the Director of Photography at the University of
Houston, Texas. For the past six years, George Krause has been working on and
perfecting a unique form of photographing portraits called "Sfumatos".
SFUMATOS
Sfumatos
is a term originally coined by Leonardo DaVinci. A literal translation from
Italian is "dark smoke". Leonardo used this name to describe a painting
technique in which translucent veils of color are overlaid and intermixed to
create atmospheric perspective, depth, volume and form. If you have ever played
with layers in a photo shop or any other graphics program, particularly
utilizing varying percentages of transparency, you have played with digital
sfumato and probably have some idea of its potential for visual power and
elegance.
To
George Krause, Sfumatos is much more than just an important painting technique
empowering his visual communication. It is also much of what he is trying to
say. He believes visual art in general, and painting and digital media in
particular, to be valid, important disciplines, as capable of advancing our
inquiries into Truth as any of the other arts or sciences.
HOW
THE SFUMATO PORTRAIT SERIES WAS BORN
George
Krause, in 1997, was artist-in-residence at Tylee Cottage in New Zealand for
six months. The Sarjeant Museum exhibited a series of 36 photographic portraits
taken by Krause. Of these images it has been written "for many years he
has wanted to explore an idea where the face is viewed as one would view a
landscape, a terrain full of peaks and valleys". It wasn't until he
arrived at the Tylee Cottage that he found the perfect light for this project.
As he climbed the stairs and reached the landing, he was greeted by a small,
strange skylight situated in the middle of the slanted ceiling. It is this
slant and the thickness of the skylight walls with the sun moving from right to
left that reveals the sculptural quality of each face in a new and surprising
way. The position of the head is always the same, which allowed George to
concentrate on the collaboration between the subject and the photographer.
Conventional black and white photography typically assumes that the principal
features will be, literally highlighted, with the secondary features in degrees
of shadow,
The
Sfumato portraits, by contrast, have the light source coming in at the back of
the head with the light source, at a 45 degree angle, producing the strange
effect whereby it is the principal features that are in shadow and the
secondary features highlighted. Such is the intensity of this light in most of
these portraits the outer limits of the heads have disappeared, so that the
unframed features float disturbingly in a suggestive and destabilized space.
SFUMATO'S
PROGRESS
George
Krause returned home from New Zealand in the spring of 1998 eager to continue
working with the sfumatos lighting and further explore the portrait as a
topographical landscape. In order that he could work anywhere and at any hour
of the day or night and in all kinds of weather he decided to build a portable
skylight. Before he left he measured the width, height and depth of the
skylight at Tylee Cottage. To further intensify the effect of the light he put
mirrors on the four sides of the new model and replaced the unpredictable New
Zealand sun with a powerful strobe. To the original process-the use of a large
format camera, 4" x 5" black and white film he added the latest
technology. The
negatives
are then scanned and worked on in the computer and printed digitally with
archival-pigmented inks on large sheets of fine paper. This fantastic new
medium allows him much more control and creative freedom