Density 1947 (2020) brings together in a neat grid six pieces of gelatin silver paper drawn from the same box, each exhibiting different levels of oxidation and loss of light sensitivity. The almost uniform copper and gold silhouetting at the edges of five sheets, which frames the nearly bleach-white quality of the papers after Rossiter processes them, is contrasted with the more advanced oxidation of the sixth and topmost sheet from the box, which absorbed the brunt of times weathering effect. The result seems an almost organic abstraction, a static-like ripple of gold and white shimmering across the paper.
In Become Gift, Sky Become Shadow a surreal atmosphere of anticipation connects two works that examine cultural myth and personal trauma. Through a combination of theatricality and subtle detail, Bradford Kessler contrasts the generic and fictitious nature of popular history with the textures and temporalities of subjective memory.
Drawn almost entirely from his remarkable monograph Heaven Is a Prison (2020), the photographs in Hunger for the Absolute dramatically expand, and forcefully concentrate, McKnights previous explorations of the landscape as a transmogrified space of sexual resonance and desire.