HOLLY ZAUSNER: UNSETTLED MATTER & MOTT HUPFEL: DREAMS TO REALITY
Curated by Kristina Burns March 1 - June 2, 2019 Members Opening & Reception: Thursday, February 28, 2019, 6:30 - 8:30 PM
Holly Zausner's 2015 film “Unsettled Matter” will be screened along with stills from the film printed on aluminum. The films have a distinctly Hopperesque feel in their sense of isolation, ambiguity, and quietude. Also for consideration are Mott Hupfel’s photographs, which were inspired by his work as cinematographer for Unsettled Matter. Hupfel is also an established cinematographer in his own right, with works on feature films and in television.
“Zausner passes through New York as a ghost - purposefully marching through empty streets, lobbies and stations, sometimes no more than a flicker, but just as often stopping to contemplate: a book in the basement of the Strand, the mangled visage of Queen Hatshepsut at the Metropolitan Museum, or us, the viewer, at the center of the swirling maelstrom of Times Square (the only time in which we see other human beings). Though she interacts with no one, she is performing for us, right up until the possible endpoint of the film, when she comes physically crashing down onto her workbench strewn with stills from her last work — death by art...” - Gregory Volk. Mott Hupfel uses composition and, usually to a greater extent, lighting, to subtly lead the viewer through the world he creates. Hopper was a consummate student of light, sayingg, “I was more interested in the sunlight on the buildings and on the figures than any symbolism.” Hupfel's study of light is the nexus of the growing series of images presented in relation to Zausner's work which also inspired him. In his career as a cinematographer Hupfel returns again and again to Hopper’s work for inspiration and often for explication when trying to elucidate an idea or a mood to a director during pre-production. Hopper’s use of light and color in works such as Automat, Summer Evening, Morning Sun and, of course Nighthawks is a starting point for a series of photographs he has been working on for the last few years. These images, which he thinks of as the nuclei, or maybe the aftermath, of scenes he may capture for films, tend to have very dramatic, classically cinematic lighting and some element of human existence, if not a human itself, which Hupfel hopes will trigger questions in the viewer’s mind about what might happen - or has happened there. These empty, or almost empty frames are, like many of Hopper’s works, infused with a sense of isolation and melancholy. Like Hopper, the use of light, or lack of light in some of Hupfel's images, serves to transform the familiar into something mysterious and strange.
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Edward Hopper House is supported in part with funds from the New York State Council on the Arts, a state agency. Edward Hopper House is proud to be a founding member of Rockland Culture. We are thrilled to work with Carolyn Izzo Integrated Communications as our publicity partner.