Alluding, possibly, to wandering movement across a vast terrain as well as to the theory of the floating separation of bodies once joined, “Continental Drift” an engaging exhibition of new work by Colin Snapp at the Journal Gallery (168 N. 1st St.) is perfectly titled and frames the artist’s current interest in tourism.
Shot entirely through the windows of tour buses, taxis, and trains, the show is comprised of photos from the artist’s recent travels in Morocco. The scenes captured here are remarkably similar to those of Times Square, NY; rows of tourists wait to board buses, busses stoically wait to receive passengers, and vendor cart shade umbrellas trumpet corporate encouragements to consume. Another constant is the distancing effect the invisible, insulating window has on the scene; separating tourist from locale, integrity from experience, and rendering all parties involved, the other. That these dusty, sun-tinged photographs were purportedly taken with a disposable camera only adds to their conceptual weight.
Offering a sneak peak at the Journal Gallery’s new satellite location, a future screening of “Leica Toll”, a video shot in the same area, will round out the show. (forthcoming details at www.thejournalinc.com) One large still from the video perhaps best summates. A veiled woman shields her face from the camera. The graininess of the video capture flattens her flayed and painted fingers so that the entire image seems on the verge of disintegrating into it’s notional essence; a pixelated projection of our own design that may or, in equal measure, may not be related to the object we intend it describe. (through April 29th) —Enrico Gomez