“Water + Light” brings together two bodies of work by artist Arthur Fields that, at first glance, seem to hold opposite moods. “Treading Water” is a piece heavy with effort; “Exposed to Joy” is buoyant and unguarded. Both series share a single working method: process as metaphor, where the physical act of making the image mirrors the emotional state it depicts.
As described by Fields it is, “[an exhibition that] pairs two bodies of work — ‘Treading Water’ and ‘Exposed to Joy’ — exploring endurance and joy as simultaneous, not sequential, truths.”
In “Treading Water,” Fields photographs through frosted acrylic, rendering figures in blue-toned, softened forms that visualize the quiet, sustained weight of depression - “not just the music, but the state of being ‘blue’,” as Fields describes it. Outstretched hands recur throughout the series, quiet gestures of reaching for connection, while traces of green breaking through the blue mark the stubborn parts of us that refuse to disappear.
“Exposed to Joy” takes the inverse approach. Each portrait is printed as a cyanotype, one of photography’s oldest processes, in which an image appears only after the paper is exposed directly to ultraviolet light. Every photograph in the series began as a self-portrait submitted by the subject, capturing a real, unposed moment of joy in their own life rather than one staged by the artist.
The exhibition will remain on display through October 15.
“Water + Light” brings together two bodies of work by artist Arthur Fields that, at first glance, seem to hold opposite moods. “Treading Water” is a piece heavy with effort; “Exposed to Joy” is buoyant and unguarded. Both series share a single working method: process as metaphor, where the physical act of making the image mirrors the emotional state it depicts.
As described by Fields it is, “[an exhibition that] pairs two bodies of work — ‘Treading Water’ and ‘Exposed to Joy’ — exploring endurance and joy as simultaneous, not sequential, truths.”
In “Treading Water,” Fields photographs through frosted acrylic, rendering figures in blue-toned, softened forms that visualize the quiet, sustained weight of depression - “not just the music, but the state of being ‘blue’,” as Fields describes it. Outstretched hands recur throughout the series, quiet gestures of reaching for connection, while traces of green breaking through the blue mark the stubborn parts of us that refuse to disappear.
“Exposed to Joy” takes the inverse approach. Each portrait is printed as a cyanotype, one of photography’s oldest processes, in which an image appears only after the paper is exposed directly to ultraviolet light. Every photograph in the series began as a self-portrait submitted by the subject, capturing a real, unposed moment of joy in their own life rather than one staged by the artist.
The exhibition will remain on display through October 15.
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Admission is free.
