An illuminated road sign at night—Indiana 35—fronting the deserted street heading into nowhere, a single car parked against anyone’s house, the last vestige of our uncertain way that narrows into the unknown; that says it all for Scottish photographer Simon Gosling’s take on our existence. Classical modern foreshortened perspective is everything for Gosling, who uses its possibilities to give us a sense that there are possibilities beyond our obstinate, yet incomplete foreground, leaving a space for imagination that the photographer does not fill. Gosling seizes upon corridors in which tiny figures making their way into the unknown evoke a frisson, or stands of trees or skyscrapers signal a rebirth. Gosling is wise to shoot mostly in black and white, and to emphasize the darker tones, both of which freight his images with a mystery that does not have the edge of film noir, but, instead, provokes a more disturbing straight-on-uncertainty; Gosling is an existentialist—we are always at Indiana 35 at night, on our way to some incalculable somewhere. (Michael Weinstein)
Through August 30 at Rangefinder Gallery, Tamarkin Camera, 300 West Superior, suite 202
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