The Still Life and Archistructures Series

Photographs by Adrian Tyler

Science tells us that all matter is composed from combinations of only 102 elements. Within these confines the processes of construction and decay, both natural and artificial, extend through time. That these changes take place in various dimensions simultaneously is a challenge for artists and philosophers as well as those staking a claim to material property.

The finite resources of the planet are now more than ever being strained by the demands of economics and space. Humanity’s fluctuating relationship with nature is set in a context of accelerating change and multiplying extremes. The artist can seek to explain these changes, or may simply present their immediate results.

The camera catches and transmits its images, confining and reflecting light like Isaac Newton’s prism. Man made structures, by providing a stable shelter from the elements and a spiritual emotional hub, also confine light and space. Whether buildings are under construction or abandoned and decaying, powerful environmental and psychological dynamics are in motion.

An example of these dynamics is a perceptual quandary of deciding which is more “alive”- the hotel library, with its workforce and guests, moving through a situation where man has demarcated and constricted the organic environment, or the abandoned crofts where greatly diminished human activity has led to the natural world intruding, or reclaiming, its space, re-arranging light and form.

Tyler’s technical skill and gift for composition allows us to observe the varied textures, colors and forms of this process, revealing the abstractions and juxtapositions which occur when man and nature are brought into close contact. This art addresses the dynamics of buildings, nature, and mans shifting place between them. He presents the images without an agenda which would distract from the inherent power and dynamism of the photographs either individually or as part of a series. His position remains as that of someone recording, but in no way contributing to, the changes underway.

It is claimed that, with photography, the image keeps looking back no matter how long the observer chooses to turn away. While this is true, it should be remembered to what extent these skillfully composed images reflect a moment in time which is already long gone, and that any processes visible in the picture may no longer be applicable.

Acknowledging the architect Gehry, as well as the builders of the hotel, and conscious of the nameless stonemasons, builders and former occupants of the abandoned crofts, Tyler has stepped aside and allowed the viewer the luxury of viewing each room as if they were the only one there, bringing only their own perceptions and expectations.

Whether it is the subconscious mind or the soul at work, it may be that the viewer fills these images with any humanity which has been overtaken and removed from the scene. The photographer has allowed us space to draw our own conclusions.

Mark Stewart Cassidy

Freelance writer, based in San Francisco (USA)