The Invisible Hand Gallery846 Pennsylvania Street785-813-1803Lawrence
Amjad Faur. Future Ruins
June 28-July 23, 2013By BLAIR SCHULMAN
Amjad Faur's photographic works present botha masculine and feminine power shaped by acontext of flowing mementos that gentlyreference the emotional significance of SarahCharlesworth as well as the hyperealistic styleof Chilean painter Claudio Bravo.However, it is the symbiotic content foundthroughout Faur’s work that makes his imagesso intriguing. Even if I am reminded of others,Faur is neither paying homage nor exploitingthese artists. Instead, he adds an originaldynamic to an ongoing oeuvre that lends itself toa larger conversation about gender, history,perspective, time and space. All of these prints were made as pigment prints.The images were shot on 8x10 inch negativesand scanned, then printed, with no digitalmanipulation. Unadulterated and carefullynuanced, each work offers a clarity thatenables Faur’s audience to respond with asense of immediacy and satisfaction, evenwhile you ponder their meaning.Visiting Faur's work during early evening, as Idid, a lot of strong, natural light poured into theInvisible Hand Gallery. The multi-paned windowsreflected upon the glass of these prints, alongwith my own image, thus creating a double, andsometimes triple, layer of depth.This light increases and prospers the alreadypresent multitude of perspective.
(2012) is one example and my personal favorite.It is not only the crispness of the images, but thefour individual levels of dimension that begs youto touch the coins, flower, fruit, and water. Thelone plant tendril flowing right towards thewater further illuminates each layer of definition.They also underscore a deeply rootedintrospection that asks viewers to not see animage unto itself, but ask ourselves, "What willthis image do to me? What IS it already doing?”
(2013) reaches me in a similar fashion.It can be said that photographs do not have thedepth or intimacy of a painted image, they are afairly cut and dried presentation, void of nuance.With a painting (or any fine art) you are meant tosee beyond what is before you and look asdeeply as you can into the piece, discerning thebrushstroke or pinch, deciphering movementsthe artist themselves might not have intended,but are nonetheless present.With Faur, however, each movement isdeliberate. The placement of every object isintentional and how his audience chooses toview them only lends itself to an appreciation of the content before us.