Through the Pane

A walk through an interior where lit tubing, striped color, warm stone, and a translucent red object are bracketed by two neon works seen through reflective glass.

neon / reflection / glass / interior architecture / stone columns

The sequence opens on glowing tube lines drawn as a face, seen against glass that folds bare trees and a lawn into the picture. It ends the same way, with the word blood in pale green tubing and a brick facade with chimneys hovering behind it. Between those bookends the building itself takes over.

A striped hanging tapers under a diagonal strip of ceiling light. Square stone columns march toward a glazed door beneath a lit opening holding a single dark hanging silhouette. A switchback stair folds against a tall glass wall, and a close look at pitted stone turns up a small embedded shell.

Two frames of a translucent red form supply the sequence's loudest color, its light pooling as pink on the surface beneath and set against a pale blue wall. Throughout, the frames stay close to what is in front of the lens: light, surface, and the glass in between.

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Related

Light, Color & Surface

  • Intervals of Visibility - Partial visibility connects isolated forms, softened architecture, layered color, and subjects defined by concentrated light.
  • Same Shots, Warm and Cool - A repetition study: the same dockside boat, the same portrait, and the same riverside shrub each appear twice, rendered once in saturated warm tones and once in cooler, more neutral color.
  • Double Exposure in Black and White - A sequence of six overlapping black-and-white exposures that layer trees, buildings, glowing cursive text, light trails, and carved stone into single frames.
  • Double Exposure B&W (II) - Layered exposures where two scenes coexist in one frame, moving from painted surfaces to sky, architecture, water, and stone.
  • Double Exposure B&W III - Each frame stacks two visible scenes: hard-edged objects and lettered signs on one layer, plants or patterned surfaces on the other, so that neither layer fully covers the other.
  • Sun Blade, Blue Cross, Red Water - Three visually disparate frames - a sunlit portrait, a blue-lit sanctuary interior, and an overhead view of tinted water - grouped for their shared contrast of sharply divided light and color rather than any confirmed...
  • Numbered Mosaic Pillars in a Tiled Passage - A photographic inventory of round, tiled pillars, each carrying one mosaic numeral in a checkered band, arranged as a descending count that skips two digits.
  • The Street Arrives Upside Down - Seven downward views rebuild a city from standing water, one broken facade and passing body at a time.

Images

Glowing orange, yellow, and teal tube lines form a stylized face on glass, with bare tree branches and a lawn reflected behind them.
Lit tubing and a window reflection share one pane, so the drawn face and the grounds outside overlap.
A vertically striped hanging in red, orange, yellow, blue, green, and pink tapers to points beneath a diagonal strip of lit ceiling panels.
A single band of ceiling light cuts across the dark, catching the striped hanging on its way down.
Square stone columns line a warm marble hall toward a glass door, with a dark pointed silhouette hanging in a lit opening above.
The hall stacks its columns in rows until a glazed door and a single hanging silhouette close the view.
A switchback staircase with thin metal balusters and wooden handrails stands before a tall glass wall lit by warm daylight.
Three flights and two landings fold back on themselves in front of a floor-to-ceiling window.
A pale pitted stone surface fills the left of the frame, with a small ribbed spiral shell embedded near its center.
Up close the stone gives up its own small detail, a shell caught in the pitted surface.
The lower portion of a translucent red block rests on a bright white surface, casting a pink glow across it.
Light passes through the red block and spreads out as a pink stain on the surface below.
A translucent red tapering form stands on a cream surface against a pale blue wall, with rose light pooling at its base.
Seen from lower and wider, the same red form throws its color down onto the shelf it stands on.
Pale green tube letters spell blood in lowercase across glass, with a brick building, chimneys, and sash windows reflected behind.
The word blood hangs in green light while a brick facade fills in behind it through the pane.