Fuss has made a series of images, such as, in which a sunflower symbolizes the power of the sun and serves as a metaphor for both the transience of life and regeneration. At a moment in time when large format, digitally manipulated color photographs compete with paintings for our attention, Adam Fuss continues to make pictures of unrivaled beauty and mystery with traditional and historical photographic techniques.
Fuss has made a series of images, such as, in which a sunflower symbolizes the power of the sun and serves as a metaphor for both the transience of life and regeneration
At a moment in time when large format, digitally manipulated color photographs compete with paintings for our attention, Adam Fuss continues to make pictures of unrivaled beauty and mystery with traditional and historical photographic techniques. His exploration of the processes for making daguerreotypes, platinum prints or photograms, for example, is not the result of a fascination with technology or a romance with the past but a desire to compose and a passion to realize an idea.
Fuss has most often made unique images with a simple process that completely eliminates the camera a photogram. Dependent upon the physical qualities of the actual object placed on light-sensitive paper and the length of its exposure to light Fuss has created stunning abstractions and poignant compositions from such materials as babies in water, the trail of snakes across a surface, sunflowers , rabbits and their entrails and light moving in space. Since 1999 he has worked on a series entitled My Ghost an evocative reference with spiritual associations realized in such images as christening gowns, transparent and absent the warmth of the intended wearer or columns of smoke captured during their brief existence. Many of these unique and intimate prints are large in scale.
While his subjects are recognizable and often familiar, their associations are metaphysical and, even, emotional. Much has been said of his work as a type of deepening internalization of photography through his penetrating acknowledgement of the required chemical process traditionally necessary to create a print. About his images, he commented: Its only when I make a picture that I have to keep looking at that I feel Ive succeeded. Ive always needed to make images that have a sense of revelation to the viewer, namely me. (Im not surprised by them) Its more like the sensation of looking into the face of someone very beautiful. Or, perhaps, when youre faced with the unknown. I got into pinhole and photograms because I was bored with the pictures I was seeing.
A resident of New York since 1982, Fuss was born in London and departed England for Australia where he first studied photography while working as studio assistant to a commercial photographer. After arriving in New York he worked as a commercial photographer documenting art exhibitions. He has been included in numerous solo and group exhibitions internationally and his work is in private and public collections. This exhibition will be the first survey of Fuss career and will include images from several of his primary series including the spirals, flowers, waterdrops, snakes and images from the ongoing series. The Kunstahalle Bielefeld is organizing this exhibition and it will premier at the MFA before circulating to Europe.
Adam Fuss, English, Born 1961, Untitled
Cibachrome Photogram, T. Walter Collection
Foster and Rabb Galleries
Museum of Fine Arts, Boston
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts 02115-5523