by Geri Hooks, President, Hooks-Epstein Galleries
Kathryn Dunlevie, Syncopated Spaces, Hooks-Epstein Galleries, December 2009.
Syncopated Spaces finds Kathryn Dunlevie following her on-going journeys through fractured landscapes and urban scenes. Dunlevie has long investigated the unseen seen which only art, particularly photography, allows us to see. It is molded on the ideal of the instant – capturing a furtive moment for posterity’s sake; a displacement, an abbreviated moment of life’s regular rhythm forever paused. That final image, at most, only allows one to “see” what was captured in front of the lens at one precise moment when, in reality, we know much more was occurring outside the immediate photographic frame that affected it. In the end, photographs only depict a morsel of their intended “truth.”
Dunlevie, however, subverts photography’s original burden: that what you see is all you get; that there is only a single possible vantage point. She breaks this down by photographing scenes from as many viewpoints as possible, then, literally, destroys the image prior to restoring it to often include disparate parts to form a coherent whole – that which photography can never show us even though we know it is there. In music, syncopation implies a compression of a musical space or moment. Dunlevie, then, is performing her own syncopated composition by allowing us to have a complete experience in one brief, shining moment.