Bryan Rindfuss’ current exhibition “Junk Culture,” which opens this Friday, explores intrinsic aspects of still life photography and idiosyncratic human behavior — specifically, the peculiar act of collecting and arranging objects and the cultural status of the detritus this activity leaves behind.
Objects are presented in repletion, conjuring the polarities of materiality and absence. As with a still life, the subject is implied but not present. Titled after the 1984 Orchestral Maneuvers in the Dark album of the same name, “Junk Culture” is built around a maximal proliferation of images of found objects and imagery forming repetitive, graphic patterns.
The marked absence of people alludes to a sense of abandonment and evokes questions about the relics regular folk leave behind. The commonplace is elevated in such a way as to legitimately question the valence of the ordinary.
As a complement to “Junk Culture,” Rindfuss is also presenting “Mirror, Mirror,” an ongoing project based on the digital mirroring of architectural details. Captured at gas stations across the state of Texas, “Mirror, Mirror” also employs commonplace imagery, in this case hinting at the possibility of extraterrestrial life.
Photographs by Rindfuss — a frequent freelance contributor to the Current — have been exhibited at Salón Gallos in Mérida, the Woodstock Center for Photography and I-5 Gallery in Los Angeles.
Free, 6-10 p.m. Friday, Jan. 2 and by appointment, FL!GHT Gallery, 112R Blue Star, (210) -872-2586, facebook.com/flightSA.
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