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WYNN BULLOCK: COLOR LIGHT ABSTRACTIONSOffered as a handout at "Wynn Bullock: Insights and Surprises"
As a young boy, Bullock had been strongly attracted by light. Light…baking the desert…blistering bare backs in tomato and wheat fields…filtering through eucalyptus trees…making morning grass and orange blossoms steamy and fragrant. His continuing experiences of its intense heat and brightness, its power to make things appear and disappear, its relation to life and death, made light for him the most profound and fascinating of all natural events.
In the late 1920s, it was light, through the work of the French Impressionists and post-Impressionists, which stimulat Bullock made color light abstractions for about five years. During that time, his involvement and excitement were intense. For many hours each day, he would work in his cluttered studio above the garage. A handmade apparatus consisting of a vertical block of redwood attached to an unfinished metal base rested on a chair. The redwood block had deep notches cut into it and into the notches were placed six to ten layers of clear window glass. Positioned over the top of this crude apparatus was his tripod-mounted, specially-adapted camera.
Surrounde
After arranging a selection of the other materials on the lower layers of clear glass, Bullock would watch closely through the ground glass of his camera as he moved things around, adding a piece here, taking something away there, increasing the brightness of illumination from one direction, changing its position from another, and controlling the in-and-out of focusing process. Forming and transforming images in this way, he created his light abstractions. By the clock, it was time-consuming work, for only occasionally would all the elements combine into a picture that was "right" for him. He never felt it to be dull or tedious, however, for the world of light expressed his deepest feeli Taken out of context, it might seem as though Bullock's Color Light Abstractions were a radical departure from the mainstream of his work. In relation to the overall arc of his creative life, however, it is obvious they were not. There are distinct similarities between Bullock's black and white photographs of light forms during the late thirties and early forties and his color images of the sixties. During both periods, he used the process of abstraction. This allowed him to cut through the obscurity that familiarity can breed and achieve new levels of perception. Through abstraction, he was able to express light directly as an entity in its own right. Light itself and not something it illuminated was the subject matter on which he focused.
Bullock's earlier abstract light images, however, were just a beginning. Emerging from the experiences and understandings manifested in his photographs of the fifties, Bullock's capacities for exploration were much deeper and fuller in the sixties. He had come to believe that light had the greatest space/time dimensions of any event in the universe. For him, it became the embodiment of change - of the energy, vigor, fluidity, and continuity of life. This expansion of his experience and conceptualization of light was matched by an extension of his technical knowledge and ability. By using close-up photography and working in full color with materials that transmitted and refracted Because of his profound feelings for light and his belief that he was able to successfully extend and express his experiences of it, Bullock included his color light abstractions in what he considered to be his most significant and satisfying work. In almost all the images, light forms emerge from unfathomable darkness. Their colors have a clarity and vividness, a diversity and subtlety, that can only be described as living. In some of the images, the forms are ethereal; in others, they are more substantial. Some have a feeling of gravity, others a feeling of weightlessness. In all, there is a profound sense of depth and movement, of energy and life, of the force and the flow between being and becoming at all levels of existence from the cosmic to the infinitesimal.
The last of Bullock's color light abstraction slides are dated January 1965. His decision to stop making them emerged in large part from his feelings of personal success that, throughout his
creative career, had always urged him to se There were also production problems. Bullock's cubbyhole of a darkroom was not equipped to handle color and work had to be sent out to be developed. Whenever he wanted to make a print from a color transparency, he was forced to request use of a commercial facility over a hundred miles from his home. Further, the color processing technology that was available to him in the early 1960s did not allow him to produce stable prints. These production limitations dramatically curtailed conventional exhibition possibilities. Although he shared the work as projected slides, this was not an effective vehicle for dissemination either.
A third, albeit minor, factor in his readiness to move on had to do with the limited responses he got from some people to
Although Bullock returned to black and white photography in the mid-1960s, he never lost interest in his abstract color photographs. He continued to hope for improvements in printing and display technologies that would allow him to sha ~ Barbara Bullock-Wilson (Parts of this essay were excerpted from the book Wynn Bullock, Photography: A Way of Life, text by Barbara Bullock-Wilson, Morgan & Morgan, Inc., Dobbs Ferry, NY, 1973.) Copyright © 1973-2015 Bullock Family Photography LLC. All Rights Reserved. |
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