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Photography, Digital on Paper
Size: 40 W x 8 H x 0.1 D in
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This panorama is composed of 5 prints. Rather than assembling them in a plain way, an extremely creative artist friend and I experimented with color xeroxes of each image, slicing the images in various ways to see what most provoked us. She then proceeded to cut the original prints after the model we had created, matted on board, then I sliced the board, precisely outlining the collage and mounted the piece again. The broken design generated a rhythm rooted in the composition of the streetscape, creating a scene even more dynamic than the facades along the Rue St. Sulpice.
Digital on Paper
100
40 W x 8 H x 0.1 D in
Not Framed
Not applicable
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United States.
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United States
1957, NYC
Eric Uhlfelder is a fine-art photographer, having focused on cities in the Eastern US and across Western Europe. His work is connected with his original career in city planning and urban design. He also is a writer, having covered various subjects including Paris and Venice, city planning, finance, photography, and theatre.
The work of Eric Uhlfelder is driven by two major concerns: the beauty of urban form and the remembrance of things past.
The Parisian images are from a project Uhlfelder initially undertook between 1983 and 1991 when he studied the city's changing architectural character. His photographs of vernacular Paris evoke the city of Marville and Atget. From serpentine staircases, the rise of the Eiffel Tower, to the flow of the city's streets and the Seine, the curve is Paris' most descriptive feature, and recurs throughout Uhlfelder's work.
The black-and-white pieces of Venice [1987-1998] evoke a very different image of this remarkable place. Reducing the city's wide range of colors to various tones of gray, the artist focuses on Venice's equally compelling composition: the juxtaposition of building and space, the integration of structure and water, and the outright splendor of the city's architectural forms.
Venice in color looks at the city in a unique manner. The walls of Venice are one of the city's most indigenous and anachronistic features. By focusing upon them close up, the surfaces of barns, railroad cars, building fenestrations, and interiors read as modern abstract art.
Uhlfelder's traditional Venetian color renderings are homage to the city's simple, understated elegance.
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