Other Projects > Prairie Line (book)

Cover
book
8.5x8.5
2008
$10
_07A1646
archival inkjet print
28"x36"
2007
snow rushes 2:4
archival ink jet print
14"x14"
2007
_07A1627
archival inkjet print
24"x36"
2007
_07A1572
archival inkjet print
24"x36"
2007
snow rushes 2:5
archival ink jet print
14"x14"
2007
_07A1781
archival inkjet print
36"x36"
2007
_07A1566
archival inkjet print
24"x36"
2007
_07A1714
archival inkjet print
24"x36"
2007
black ice 2:4
archival ink jet print
28"x36"
2007
black ice 2:11
archival ink jet print
28"x36"
2007
black ice 2:7
archival ink jet print
24"x36"
2007
black ice 2:8
archival ink jet print
28"x36"
2007
black ice 2:9
archival ink jet print
28"x36"
2007
black ice 2:12
archival ink jet print
28"x36"
2007
black ice 2:6
archival ink jet print
28"x36"
2007
black ice 2:5
archival ink jet print
28"x36"
2007
black ice 2:10
archival ink jet print
24"x36"
2007
_07B3749
archival inkjet print
20"x36"
2007
_07B3796
archival inkjet print
24"x36"
2007
_07B3772
archival inkjet print
24"x36"
2007
_07B3775
archival inkjet print
20"x36"
2007
_07B3746
archival inkjet print
24"x36"
2007
_07B2264
archival inkjet print
28"x36"
2007
_07B0929
archival inkjet print
24"x36"
2007
_07B1554
archival inkjet print
24"x36"
2007
_07B3659
archival inkjet print
20"x36"
2007

Prairie Line is a catalogue for a show of photographs by William Harper at the Flatfile Gallery in Chicago in February 2008.

William Harper writes:

These pictures were taken in marshes of northern Illinois. I’ve taken photographs in these places in every season studying the interaction of the rushes, cattails and lilies with their shadows and reflections on the water and ice of this shallow and slow moving stream.

Though my work can be described as formally based studies of line and shape in common events, I look for images and treatment of images that reach beyond their abstraction into mythology.

Photography provides a number of ways to make slight shifts in perspective that allows us to see things that are otherwise invisible. In the Dead River Trees series, I’ve turned the photographs all the way upside down providing an engaging mystery that doesn’t dissolve when the trick is discovered.

In a musical canon, two lines of identical counterpoint interact to create a harmonic progression that exists only in their interaction. Likewise, a bent rush and its reflection or shadow ghost a new form that doesn’t exist without this light driven interaction.

The sources of my musical intuitions are ephemeral and in constant motion and it is an aggressive and intensive effort to wrestle this intuition into form. When I compose music the impulses and ideas come from internal sources. When I am out in the weather, walking, looking, kneeling in a swamp, I remind myself that there are things to photograph everywhere and that after a while I will start to see my subjects. Photography quiets me and facilitates an access to an interaction with nature.