Chemical Flight
Cyanotypes captured in the middle of chemical transformation, these shimmering metal images & large-scale prints by Jocelyn Mathewes illustrate the unrepeatable beauty of the process.
ON VIEW August 20, 2020
ARTIST TALK @ 6:00pm on Instagram LIVE (WATCH REPLAY)
VIRTUAL OPENING @ 6:30pm on Facebook LIVE (WATCH REPLAY)
Pictured: a large family-friendly traditional pizza, a small “limited trust”* pizza, and a small “full trust”* gluten-free pizza, available at Scratch Pizza in Johnson City, TN.
*Scratch offers a creative menu approach: “full trust,” allows the restaurant to construct something to surprise and delight, “limited trust,” lets you cross out the things you dislike but give them freedom within those parameters, or you can select your own toppings, as usual.
POEMS BY LARRY D. THACKER
Seen, Then Unseen
Before Hurricane Matthew, I was wondering
where birds go exactly during normally bad
storms just here in town, far from the coastline,
where trees still can blow sideways and nests
just don’t seem enough. I feared such a cycle
of wonder was inescapable, like getting swept
up in the northern loop of a hurricane’s eyewall.
I’d watched a bird up in a storm’s toss, fighting
its best to glide against the headwind, forced
to dive when it fatigued, wings almost buckling,
thrown down beyond my sight a block over,
helpless in this simple summer storm. Where
do birds by the millions retreat, or hide, when
a colossus comes rearing out of the sea and rolls
the shores up over four states, pelting its reach
inland for a hundred miles? I’ve been at the shore
during storms. Gulls, pelicans, and dune crows
toughing it out in the winds, seemingly born in
the violence, immune to the danger, evolved
in the sea’s rage. Or might we not see the many
lost, sunk to the bottoms of the rivers and lakes.
Or out to sea, made more a share of the mystery,
hidden low, dark from the winds and questions.
Ghost Flight
A crow feather rests on a town sidewalk.
A thousand hurried feet pass, splashing
puddles in another spring storm. So light once
the air barely noticed it, now it soaks
in a foreign weightiness as the sun vanishes,
all evening, all night, blankets down with warm
morning fog.
Nearly dries as crawling sunlight
passes over. Stays. Decays ever so gently.
Withers darkness to grays. Rainbow iridescence
exhaling. Then, gone. Wind lifts what’s left just so,
mostly quill, like a stripped limb.
The humming
inky ghost remains, like rustiness of leaf stain.
A thought of a thing, only. A feather once, yes.
An outline, hued mostly between the lines now,
waiting for the next hint of coming rain.
Box of Crowns
We found a closet full of down pillows
for the estate sale as we prowled the home.
Seven of the old blue striped sort, stacked
upon one another on the high shelves,
pressed to the ceiling out of the way.
There were names in cursive script
on the glassed cotton, in dark pen,
all in the same hand. Name: Date of death.
The oldest from 1903. The last, 1981,
with a name scratched out in a different hand.
A hat box, from Macy’s, rested at head level,
labeled Mullins Family, held no fancy hat
from a New York trip, but soft layers
of wax paper-wrapped feather crowns
extracted from each death pillow,
tightly nested feathers, again labeled
with names and dates, gently with pencil.
The old mountain family believed
the strange swirls were woven up in pillows
at those very instants of death,
as loved ones finally quit tossing and turning.
The box could have easily been mistaken
for an abandoned collection of trial and error,
never-used nests, by birds particular plumages
found in family’s pillow cases, little homes
newly made, eggs freshly laid,
some nightly tossed heads of the living
offering a rocking warmth, an odd hatching,
the little birds then, in the mostly dark,
commencing with the work that only comes
naturally when surrounded by the twisted
and confusing lingering of ailing kin.
Chemical Flight
works by Jocelyn Mathewes
exhibition view & details
ARTIST STATEMENT
For the series Chemical Flight, cyanotypes were photographed mid-transformation in their chemical development. Because of the very nature of the process, a cyanotype cannot be arrested mid-development. For me, watching each print develop is part of cyanotype’s intoxicating beauty. While working on a custom art installation, I chose to photograph that chemical transformation—an attempt to capture and possess an unrepeatable, utterly unique moment in time. This series brings to the forefront something unseen; the midpoint of a process is often just as beautiful as the result.