cyclops engine fragments 2018 in mountains

In contrast to Morning, which is 70 inches tall, Hereafter is just 13 inches high.

Though devoid of people, the composition and the lighting call to mind the works of Johannes Vermeer. The background is in shadow and partially filled with another photograph of a cloud filled sky, perhaps an indication of infinite space, as well as a reference to the skies that appear in traditional European paintings. Further back in the photograph is another vertical stand draped with translucent pink fabric that creates a conversation between the two forms. A wide piece of white satin arcs from one side of the stand to the other like a flowing cape. Placed in front of an open window, it is illuminated by the light coming in. In the large-scale ink jet print Morning (all works 2022), the foreground of the picture is framed by a dark doorway that directs the attention to the center where an ad hoc white wooden stand rests on a stool. Each image is a still life created in situ and photographed from a specific vantage point, not necessarily to emphasize a photographic illusion, but to capture the way light filters in, casts shadows and creates atmosphere.

The color photographs are beautifully composed and feature items from the artist's studio- flowers, drapery and props, as well as drawings and other photographs. The elegant and minimal installation allows each piece to stand on its own whether large or small. Though consisting of just nine works, David Gilbert's exhibition My Heavens has tremendous impact.

Cyclops engine fragments 2018 in mountains