Margaret Evangeline
William Brovelli
September 8 - October 8, 2005
In this new series of photographs made near Wides' home in the Catskills, she focuses on the landscape that captivated the initial group of Hudson River School painters.
It was Thomas Cole's view that it was all right, even necessary, to falsify observed nature in the name of some higher truth. As it was for the Hudson River painters, transformation is a potent force in Wides' photographs. For example, a car dump across from Cole's house is rendered as something like a botanical garden of refuse. Certain objects and details loom into consciousness with sharpened clarity as others fade into dreamy abstraction. The boundaries between fact and fiction, recollection and preservation are blurred. As does all of Wides' work, this series explores the play between the exterior world and the subjective one.
The photographs of Susan Wides have been featured in numerous exhibitions in the US and Europe. Her work has appeared in the anthologies One Man's Eye and Here is New York. She has contributed to several magazines, including Harpers, Double Take, Architecture and 2wice. Her work is in the permanent collection of the Norton Museum of Art, International Center of Photography, The Art Museum of Princeton University, Brooklyn Museum, Bibliotheque Nationale and The Center for Creative Photography.
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