Battenkill
Entitled Circumstantial Evidence, the show circulates
three interlocking ways of looking at place: the interior,
the landscape and abstraction, the latter drawn from
the close examination of frescos, signs and other
ephemera, fragmentary yet just as evocative of place
as their more literal narrative counterparts. This minute
examination of artifacts is somehow disruptive, even
faintly disturbing; one is reminded of Antonioni's
cinematic masterpiece from the 'sixties, Blow Up, in
which a glamorous young photographer combs his
own images, ever grainier as he enlarges them, to find
what he believes is evidence of a murder.
HYLAND
