The Haley-Henman Gallery Features
Kitty Alice Snead
David Clanton Lee Albert Hill
Alan Robertson Brett Schneider
February 4-25, 2012
Opening Reception is Saturday, February 4 from 6:00 to 9:00 pm
The Haley-Henman Gallery is located at 2335 Hardwick Street Dallas, TX 75208
Gallery hours: Wednesday-Saturday, 12 noon to 5:00 pm and by appointment.
For appointment call: (214)749-1277
Contact person: John Marcucci, Gallery Director
The exhibition: Five Photographers, features the work by Kitty Alice Snead, David Clanton, Lee Albert Hill, Alan Robertson, and Brett Schneider. These photographers bring forth their individual talent and expertise in different ways.
Kitty Alice Snead began "Fire Light" in 2007 after establishing a rapport for ten years with the Tarahumara people of Northwestern Mexico. These photographs occur on a moonless, spring night during their ritual celebration of Tutu Bur/Yumari. Using only the light from campfires and a fireball lantern, Ms. Snead moved about the dance and the women's circle all night long. From this extraordinary collection, the gallery presents a premier selection of six photographs.
David Clanton's images are the melding of disparate elements of metallic textures, reflecting surfaces of color, or facets of stone. His abstractions derive from eight or more layers of underlying images that boldly create balance, harmony and dimensionality that speak to our urban surfaces as a quality in need of discovery.
Lee Albert Hill presents works from his "Signal Series". Using the theme of maritime signal flags used for visual communication between ships at sea and mid-20th century junk cars in the middle of West Texas, these composite photographs ask questions about our unsustainable past and how we move on to a new, sustainable future.
Alan Robertson's inspiration for his "Illumination Series" comes from George Eastman, who said, "Light makes photography. Embrace light. Admire it. Love it." In these new works, Mr. Robertson is drawn to the interplay between natural and enhanced light, particularly light fixtures and patterns of illumination. How these patterns will change with new lighting technology is poignantly highlighted in the way Mr. Robertson points the lens to the grandeur of the architectural past.
Brett Schneider captures Texas landscapes emphasizing the power between sky and land. This relationship highlights the extremes in temperature and mood and adds to the speculation of how Texans are shaped by these extremes in the landscape.