SPRING GYM SHOE SALE
America's Landscapes Meet
Artistic and Chemical Alteration
Kids
Sizes!
S
2 PAIR
ONLY
• )1093311 :LU OJJ a sooLio
Values $65-$95
LESLEY PEARL STAFF WRITER
50 T
. frescoes, reliefs, tapestries and
he barn is ablaze.
A ladder stands straight sculptures.
He returned home for his lat-
up, climbing to nowhere. In
the left corner of the blaz- est works, "Figments of a Land-
ing structure, a small window scape," focusing on the textures
emits clear, white light from be- and natural earth formations of
the deserts of Arizona and Cali-
yond.
The haunting exposure could fornia.
Mr. Moers returned to the
be considered classic Denny Mo-
ers, especially when considering United States following a trip to
Egypt when "I realized I'd gone
there is no fire.
Through chemical techniques back as far as I could in time. I
and basic fiber paper, Mr. Moers returned home and found the
ekes out "what is already there" landscapes."
Home isn't so foreign to Mr.
in a picture.
A Huntington Woods native Moers though.
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EST-1947
"An Unsettled Place" 1989-90.
• STERLING SILVER
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LENOX CHINA
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Royal Oak 549-1885
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Friday 10-6, Saturday 10-5
Closed Mondays
Your Hosts: Al & Ruth Beigler
(his family remains in the area)
who has spent the last 17 years
in Providence, R.I., Mr. Moers'
works return to his home state,
gracing Birmingham's Pierce
Street Gallery.
He began "making pictures" at
13 years of age.
Figures are rarely seen in Mr.
Moers' images, except for the oc-
casional herd of cows or birds.
Oddly, he lists Henri Cartier
Bresson, best known for his pho-
tographic studies of people,
among his influences.
"I make my pictures from a po-
etic source and I turn to Ameri-
can poetics for verbal articulation
of what I do. It (my work) de-
mands attention to beyond what
is literally in front of you. That's
what I'm always looking for," Mr.
Moors said.
Architecture served as the
source for most of Mr. Moers' ear-
liest works. He later traveled to
Turkey, Egypt and Yugoslavia in
the 1980s to capture images of
Upon graduation from art
school, Mr. Moers moved to
Rhode Island to apprentice for an
abstract impressionist photog-
rapher and began photograph-
ing buildings and their interiors.
`Tm not so unfamiliar with lo-
cal terrain. I literally shot (pho-
The tones
inherent in
the paper
are selectively
fogged and altered.
tographs) in my back yard. But
to travel, I think it's a common
phenomenon among artists.
Travel confronts you with a dif-
ferent reality, a different light. A
foreign country is just that — for-
eign," Mr. Moers said.
As vast as Mr. Moers' travels
might seem, a significant amount
of his time is spent in the dark-
room creating pictures which
cannot be duplicated. And on oc-
casion, he will create two or three
greatly differing images from the
same negative.
At first glance, Mr. Moers'
works may appear hand-colored.
Instead, the tones inherent in the
paper are selectively fogged and
altered.
"No color is added," Mr. Moers
said. "Tonalities exist in every
fiber paper. I've just coaxed them
out."
A year's worth of
shooting may result
in 30 or 35 final im-
ages. Some works
are begun, put
away and revived
years later. The
technique allows
for some dreadful
negatives to result
in success and vice
versa.
It's an art form
developed profes-
sionally by Mr. Mo-
ers and remains
fairly unique to the
medium.
Mr. Moers' early
landscapes, begun
in 1989 and 1990,
contain hints of in-
dustry and a mes-
sage regarding the
"death of the envi-
ronment." More re-
cent pictures
include open skies
and the occasional
patch of weeds
against corrugated metal.
"To make this work, I have to
see beyond the literal," Mr. Mo-
ers said.
Like many artists, Mr. Moers
admits his frame of mind and ref-
erence influences his work. For
example, in his later landscapes,
skies are more serene as opposed
to "oppressive and apocalyptic."
"I've heard from viewers that
the new pictures emit a warm
feeling, yet in some, the subject
matter is a strip mining location
never revived. The warm feelings
come in essence from this resus-
citation of space," Mr. Moers said.
And the barn?
"The poetic insights and con-
cerns come into a picture. Place
yourself driving through a bar-
ren landscape in the desert. I was
attracted to the latter going
nowhere. The shack wasn't on
fire. There was no window into a
`brighter world.' It was all placed
there by me, made by me. That's
the poetry." 0