Review of Phil Anderson’s Thesis Exhibition, Encounters
By Siobhan Egan
Phil Anderson’s recent photography thesis exhibition, entitled Encounters, deals with the artist’s Christianity and relationship with God. The photographs are peaceful and at the same time, chaotic. The artist is trying to find clarity and is looking for peace in a whirlwind of confusion.
The show has an effective rhythm with diptychs broken up by strong single images. The artist was forced to deal with a strange space, SCAD’s Alexander Annex, in which to hang his work, but did a good job using large images and some smaller ones to keep the flow of the show moving. The strongest images of the show tend to be abstract, confusing and chaotic.
The work is a gutsy attempt at showing the ups and downs one may have in their search for meaning in life and a higher power. I use the word gutsy because I have found that making beautiful pictures of nature, in reference to religion, seems to be taboo to many artists today.
Anderson walks a thin line with his choice of subject. His project could have very easily turned into something cliché that some would expect to see on a calendar. For example, a photograph of a rainbow comes dangerously close. But with most of the images, his use of diptychs, and the presentation of the work, mounted with no glass between the viewer and the photograph, the exhibition goes beyond what is expected of stereotypical Christian art. The photographs are much more than just “pretty pictures.” The work has the ability to reach beyond a Christian audience. Most people can relate to the images regardless of religious background.
Phil Anderson’s recent photography thesis exhibition, entitled Encounters, deals with the artist’s Christianity and relationship with God. The photographs are peaceful and at the same time, chaotic. The artist is trying to find clarity and is looking for peace in a whirlwind of confusion.
The show has an effective rhythm with diptychs broken up by strong single images. The artist was forced to deal with a strange space, SCAD’s Alexander Annex, in which to hang his work, but did a good job using large images and some smaller ones to keep the flow of the show moving. The strongest images of the show tend to be abstract, confusing and chaotic.
The work is a gutsy attempt at showing the ups and downs one may have in their search for meaning in life and a higher power. I use the word gutsy because I have found that making beautiful pictures of nature, in reference to religion, seems to be taboo to many artists today.
Anderson walks a thin line with his choice of subject. His project could have very easily turned into something cliché that some would expect to see on a calendar. For example, a photograph of a rainbow comes dangerously close. But with most of the images, his use of diptychs, and the presentation of the work, mounted with no glass between the viewer and the photograph, the exhibition goes beyond what is expected of stereotypical Christian art. The photographs are much more than just “pretty pictures.” The work has the ability to reach beyond a Christian audience. Most people can relate to the images regardless of religious background.
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