ARTnewsOctober 1, 2015
In contrast to her earlier vibrant, pigment-printed collages on canvases, for which she is best known, Gwenn Thomas’s new works in this six-piece show were considerably less assuming, yet equally beautiful. Quiet, unadorned photographs, they offered a rare and satisfying study in proportion, light, and perspective.
Thomas’s “Moments of Place” series takes a simple rectangular two-paned window as its subject. The resulting images, captured at different times of day over the course of many months, elegantly underscore the banality of the window. The row of differently sized and colored photographs took on an almost sculptural form. At the same time, the flatness of the picture plane and the depth of color called to mind the formal and subtly expressive qualities of painting.
One work in particular, titled Moments of Place II (2013-14), pushes the boundary of what a photograph hung on a wall can be. With its blue-green hues and slanting top and bottom, it gives the impression of being a real window extracted from the side of a stucco building. Thomas adds to the resonance of the work, capturing its role as a sculpture in a companion piece. Moments of Place II (Room), 2014, sets the work in a white-walled room, above a black radiator, where it becomes a window to the world outside.
– Maximilíano Durón