This picture dramatizes a particular technology at a specific point in 
history.  The technology depicted, aviation, is represented by the Fairy 
Swordfish, a warplane that dates from a period in time, (first flown in 
1934 ), just before air power was to become a major force shaping 
warfare.  Poignantly, the obsoleted Swordfish was employed throughout 
WWll,  and was responsible for the destruction of more shipping than any 
other aircraft. Documentary in concept, the picture gives us a glimpse 
of this technology set in time.  But the pictorial elements are used to 
dramatic effect as much as accurate record.

I am struck, simultaneously, by the unusual camera angle and lens, the 
accurate texturing, the narrow range of hue, and the rich contrast.  The 
effect is to emphasize the looming presence of the aircraft as it 
emerges from the gloom and structures of its surroundings.  The blunt 
utility of the hanger structure is as celebrated as is the 
battle-scarred patina and dated design of the warplane.

Compositionally, the Swordfish is framed in a series of encrusted 
foreground beams and chains.  These introduce a series of diagonals, 
that dominate the composition and draw the eye in.  The wide-angled lens 
distorts these elements which anticipate the effect on the airfoil.

The texturing is subtle and enveloping. It is used to differentiate just 
a few main species of material: encrusted iron, airfoil skin, brick, and 
pavement.

This slice in time is made intimate by electric lights, a technology we 
share with this era.  A light placed against a beam in the foreground 
rakes its heavy texture while leading the eye to the highlighted prop 
and wing.  Other lights placed throughout the hangar create a 
flickering, irregular effect as they rake the brick texture or pick out 
the ironwork. This irregularity, combined with the relentless diagonals, 
reinforces the visual drama of the scene.

A visit to the artist's website gleaned that this picture advances an 
interest, seen in several works, in the interior spaces of technology.
By picturing his subject inside a maintenance hangar, he implies its 
internal structure, and suggests its transience in time.

Post a reply to this message