This photography, rendered in monochromatic tones, strikes with its evocative minimalism and raw, candid emotion. The image centers on a close-up of a human subject's legs and feet, capturing a moment of vulnerability and repose. The interplay of light and shadow accentuates the texture of the skin, adding a tactile dimension to the visual experience. The prominent use of stark lines, possibly from an undergarment, adds a visceral quality to the composition, drawing the viewer's eye along the curves and contours of the figure. The background fades into an abstract pattern, hinting at an environment while allowing the primary focus to remain on the organic forms in the foreground. The simplicity of the image belies a deeper narrative, inviting viewers to ponder the stories that lie beneath the surface. Is this a moment of rest, reflection, or respite? The ambiguity of the scene enriches its emotional resonance, making it a compelling piece that speaks to the complexity of human experience. The photograph's grayscale palette not only unifies the composition but also emphasizes the contrasts, enhancing the depth and dimensionality of the subject. This artwork masterfully captures a quiet, intimate moment, rendered with an unflinching honesty that is both poignant and powerful.
Head to toe, 1993. Photography
Elmer Batters
Head to toe, 1993
Black and white Original Print
Dimensions:
Image size: 10 x 7.75 in.
Frame size: 24.5 x 20.5 in.
Black Frame
The American sculptor Alexander Calder is known as the father of the mobile, a moving artwork composed of delicately balanced sculptural forms suspended from the ceiling.
Because Calder's parents, both artists themselves, did not want him to suffer the hardships of trying to make a living in art, they encouraged the young Calder to study mechanical engineering at the Stevens Institute of Technology, in Hoboken, New Jersey. He worked a number of jobs, including as a hydraulic engineer and draftsman for the New York Edison Company, before deciding to pursue an artistic career. He never abandoned his engineering background, however, applying his understanding of gears and moving parts in all his artworks, from mechanical toys like the Cirque Calder (1931) and his revered prints to his free-standing abstract sculptures, called stabiles.
In 1926, Calder moved to Paris and established a studio in the Montparnasse quarter. He began creating the many parts of his famous miniature circus from found materials, such as wire, string, cloth, rubber and cork. Designed to be transportable, Cirque grew to fill five suitcases over the years. Always interested in putting forms in motion, Calder also pioneered a new art form called wire sculptures, which he described as “drawings in space.” Like his famous mobiles, the wire sculptures were suspended so that they turned with any movement of the air, presenting different forms when viewed from different angles.
In the 1950s, Calder returned to his roots in mechanical engineering, creating monumental abstract sculptures that verged on the architectural. He worked from loose gestural drawings like this preparatory sketch for his Man Stabile, from 1966. Throughout his career, he also worked as a set designer for the theater, as well as an illustrator and printmaker, producing vibrant, whimsical drawings for books and journals.
