OKLAHOMA CITY, Oklahoma---JRB Art at The Elms presents a solo exhibition of photography by Barry Snidow alongside a thematic exhibition with work by both Sara and Shane Scribner. These exhibitions open with a reception from 6:00 to 10:00 pm on Friday, November 6, 2015, during the Paseo’s First Friday Gallery Walk and continue through Sunday, November 29th.
November’s program provides three painterly depictions of time, with three very different modes of portrayal. Barry Snidow’s photographic prints, Shane Scribner’s paintings of brief quotidian moments, and Sara Scribner’s eternal women all combine the timeless with the distinctly dated. Snidow’s printing of earlier images using antique photographic processes creates a limbo for the viewer, while likewise Sara Scribner’s women hark seemingly simultaneously from today and the past. Shane Scribner’s paintings place each woman in a specific moment of her own, which becomes timeless for the viewer as we contemplate her thoughts. Together, these artists fill the gallery with varied artworks, all asking the viewer how we know where we are in time.
Barry Snidow’s current body of work explores the boundaries of time and medium by returning to one of the original photographic processes to create distinctively painterly photographs. For this show (his first at JRB Art at The Elms, having taught for 28 years at North Lake College) he used two antique photographic methods, cyanotype and gum bichromate, to fashion unique handmade works. Sifting through his images from the last ten years, Snidow kept in mind the goals of the photo secessionists and the abstract expressionists, picking the most painterly images from his oeuvre. Of the resulting body of photographic prints, all made within the last few months, he says he is “hoping to bring more attention to how things look rather than what they are.” In one work, the viewer peers into what seems like one of Edward Hopper’s paintings. Another’s palette and geometry is reminiscent of Native American textile weavings, but in fact shows an architectural building face. By returning to photography’s beginning, Snidow finds a color palette and a depth of contrast that allows him to bring our realities at once forward and backward in history, blending time and process to show us the painterly layer in between a photograph and its print.