George Byrne

99 Silverlake #3

, 2017
  • Material
    Archival Print
  • Herstellungsmethode
    separat auf einem Label signiert
  • Auflage
    20
  • Maße
    47 x 47,6 cm
  • Details zum Rahmen
    Handgefertigter weiß lackierter Ahorn-Holzrahmen, inkl. Distanzleiste, Außenmaße ca. 48 x 48,6 cm. Inkl. rückseitiger Hängeleiste, staubdicht verschlossen.
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About the artist

A swim ring’s shadow shimmers in the turquoise of a hotel pool. The angular railing of a single stair step appears like a sculpture, out of place. A dissimilar pair of palm trees reaches into the infinity of the clear blue sky, one of them completely in white. Its shadow likewise appears misplaced: Its stage is a light green wall adjacent to a deserted parking space. Shadows, palm trees, anonymous buildings, lifeless places, bizarre details — photographer George Byrne, born 1976 in Sydney, looks where nothing appears to be happening at all. But the street and landscape photography radiates, it is pure joie de vivre. A road movie that passes through enchanting colours, glimmering lights and unusual image compositions. Byrne graduated from Sydney College of The Arts in 2001, travelled extensively, and then settled in Los Angeles in 2010 where he has been focusing on his photographic practice.

About the edition

Byrne created the photograph with the title “99 Silverlake #3” in 2016. It is part of the “Color Field” series. There are two ways to view this picture: You can stand in front of it and try to get a feel for the yearning expressed in it and get to the bottom of the mystery of what lies behind the depicted building. The palm tree triggers associations like “summer”, “sun” and “beach”. The roaring sea may not be too far away. A seafront promenade and cold drinks could also be just around the corner. But perhaps all that lies behind the seemingly deserted building is the likewise-deserted palm tree just off the street. The other way to see this picture is to ditch reality altogether: Instead of standing in front of it, let’s dare to step inside the image, entering a scenery composed entirely of forms. We can see two large white squares (the walls), one blue and one pink rectangle (the door, the awning) and a yellow line (the marker post). Lacking depth, everything is two-dimensional. The two blue rectangles that are the sky are pushing forward. Foreground and background fuse into a single layer. The depiction seems flat, artificial, unreal. We do not see architecture, but one field of colour next to the other. “Color Field”, the title of the photo series, couldn’t have been more appropriate. Instead of mirroring reality, Byrne chooses to abstract it. He succeeds in creating a photograph that seems like a painting. A painting in a style that is as Piet Mondrian as it is Bauhaus. Byrne positions himself within a great artistic tradition by giving his complete attention to colour and form.

Latest Exhibitions (Selection)

2016, Local Division, Olsen Irwin Gallery Sydney
2016, Monograph, SOHO, NYC
2016, FOCUS Photo LA, The Reef / LA Mart
2015, Local Division, Contact Photo Los Angeles
2015, MY LA, Hive Gallery, Los Angeles
2015, Australian And Contemporary Photography, Olsen Irwin Gallery Sydney
2014, Insta La, Hemingway and Picket, Los Angeles
2014, Astray, CHASM Gallery Brooklyn, NY
2014, Almost Neighbours, The Know Where Bar Los Angeles
2009, Recollections, Charles Hewitt Gallery, Paddington
2002, Italy, Global Gallery, Paddington
2002, Italy, Global Gallery, Paddington
2000, India - New Perspective, Global Gallery, Paddington

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