Above the City, 2005 (END OF A NEW DAWN)
       
     
Boy on Inflatable, 2005  (END OF A NEW DAWN)
       
     
At the Station, 2005  (END OF A NEW DAWN)
       
     
Breakfast, 2005  (END OF A NEW DAWN)
       
     
End of a New Dawn, 2005  (END OF A NEW DAWN)
       
     
Olympia, 2005  (END OF A NEW DAWN)
       
     
Plug, 2005  (END OF A NEW DAWN)
       
     
Pond, 2005  (END OF A NEW DAWN)
       
     
Trams, 2005  (END OF A NEW DAWN)
       
     
 END OF A NEW DAWN, 9 paintings. Oil on canvas, 22 x 22 in. each
       
     
 END OF A NEW DAWN Review by Jonathan Goodman, ART IN AMERICA, October 2005
       
     
Above the City, 2005 (END OF A NEW DAWN)
       
     
Above the City, 2005 (END OF A NEW DAWN)

Selenium toned silver gelatin print mounted on diebond in white artist frame  43 x 44 in. (109.2 x 111.8 cm.)

END OF A NEW DAWN explores, questions and inverts the uneasy relationship between painting and photography. When photography first appeared in the 19th century, it seemed to eclipse painting as the privileged medium for the documentation of the real. Painting, by comparison, was viewed as subjective, its depicted reality mediated by personal vision and artistic skill.

The large-scale photos in END OF A NEW DAWN use paintings as their referents. What is actually depicted is an imagined reality, a painted world. The boundary between the recognizable and the invented is blurred. This blurring is echoed in the subject matter. The scenes of travel, industry and recreation are both concrete and abstract, apprehensible but not quite understood.

The title, END OF A NEW DAWN refers with nostalgia to the immense technological promise from the era of my childhood in the 60s & the 70s, before it dissipated into the ambiguities of the information age. 

END OF A NEW DAWN is also a reflection of, and upon, the end of classical analog photography. The digital is taking over. 

 

Boy on Inflatable, 2005  (END OF A NEW DAWN)
       
     
Boy on Inflatable, 2005 (END OF A NEW DAWN)

Selenium toned silver gelatin print mounted on diebond in white artist frame  43 x 44 in. (109.2 x 111.8 cm.)

 

END OF A NEW DAWN, was reviewed by Jonathan Goodman in Art in America (Oct. 2005, p.180).

and with END OF A NEW DAWN, ANDRE VON MORISSE won the Best New Contemporary Artist Award 2005 at the Kunstnerenes Hus Museum in Oslo, Norway

At the Station, 2005  (END OF A NEW DAWN)
       
     
At the Station, 2005 (END OF A NEW DAWN)

Selenium toned silver gelatin print mounted on diebond in white artist frame  43 x 44 in. (109.2 x 111.8 cm.) 

 

 

Breakfast, 2005  (END OF A NEW DAWN)
       
     
Breakfast, 2005 (END OF A NEW DAWN)

Selenium toned silver gelatin print mounted on diebond in white artist frame  43 x 44 in. (109.2 x 111.8 cm.)

End of a New Dawn, 2005  (END OF A NEW DAWN)
       
     
End of a New Dawn, 2005 (END OF A NEW DAWN)

Selenium toned silver gelatin print mounted on diebond in white artist frame  43 x 44 in. (109.2 x 111.8 cm.)

Olympia, 2005  (END OF A NEW DAWN)
       
     
Olympia, 2005 (END OF A NEW DAWN)

Selenium toned silver gelatin print mounted on diebond in white artist frame  43 x 44 in. (109.2 x 111.8 cm.)

Plug, 2005  (END OF A NEW DAWN)
       
     
Plug, 2005 (END OF A NEW DAWN)

Selenium toned silver gelatin print mounted on diebond in white artist frame  43 x 44 in. (109.2 x 111.8 cm.)

Pond, 2005  (END OF A NEW DAWN)
       
     
Pond, 2005 (END OF A NEW DAWN)

Selenium toned silver gelatin print mounted on diebond in white artist frame  43 x 44 in. (109.2 x 111.8 cm.)

Trams, 2005  (END OF A NEW DAWN)
       
     
Trams, 2005 (END OF A NEW DAWN)

Selenium toned silver gelatin print mounted on diebond in white artist frame  43 x 44 in. (109.2 x 111.8 cm.)

 END OF A NEW DAWN, 9 paintings. Oil on canvas, 22 x 22 in. each
       
     

END OF A NEW DAWN, 9 paintings. Oil on canvas, 22 x 22 in. each

 END OF A NEW DAWN Review by Jonathan Goodman, ART IN AMERICA, October 2005
       
     

END OF A NEW DAWN Review by Jonathan Goodman, ART IN AMERICA, October 2005