Shapes occur everywhere in nature, yet they are also recreated in man-made objects. A careful look around reveals the way in which shapes, both natural and man-made, can combine, forming an endless repetition of form and patterns. John Kramer examines just that in his multimedia show in the Art Institute of Boston Gallery at University Hall at Lesley University, entitled "Interesting and Dull Shapes." Through a multimedia presentation of photographs, prints and film, Kramer examines the relationship between shape and form.
The images Kramer produces focus on both natural and sculpted forms found at Forest Hills Cemetery in Jamaica Plain. The exhibition is small, consisting of only two rooms in a gallery nestled among shops and restaurants in the ground floor commercial hub of Lesley University. Several photographs and a cluster of prints adorn the walls in the first room. In contrast, the walls of the second room are bare, with the exception of a large projection screen.
Despite the minimalist presentation, the pieces selected for the gallery are quite intriguing. Some photographs appear to capture a happened-upon moment in time, while others appear manipulated in order to achieve a specific effect. Two photographs of the words "July" and "Frost" are particularly eye-catching, and they raise a question of ambiguity.
They appear to be photographs of tombstone engravings, but since the image is focused in on the words, the viewer does not get the context of the full image. Looking more closely, moss fills in the engraved letters of "July" while snow envelops the word "Frost." Another visually pleasing photograph juxtaposes the irregularity of gnarled tree branches with the rigid geometric lines of a stone obelisk.
It is these contrasts of shape and form and interesting combinations of lines that make the photographs in the exhibition so aesthetically attractive. The exhibit lives up to its namesake; the shapes and the relationships between forms are indeed appealing. Nevertheless, the striking simplicity of the exhibition leaves the viewer wanting a little more.
A closer examination of the works yields intricate details that are otherwise overlooked. Taking in the entire collection, from the photographs to the film to the rocks and other stone and cement blocks arranged on the floor throughout both rooms of the gallery, the viewer gains a more complete sense of Kramer's vision. The forms and imagery of nature -- mostly moss and leaves -- dominate the cemetery landscape. Some of the tombstones in the photographs and film seem to impose themselves upon nature, while others are taken over by vines or enveloped so much so that they become part of the background.
Most intriguing, however, is a detail easily overlooked. The prints take on an entirely different meaning when viewed through the mirror hanging on the opposite wall. At first glance, the prints, which are made from stone rubbings, appear somehow disconnected from the rest of the exhibition. The shapes seem disjunctive, as they are simple geometric shapes of triangles and circles, drawing a comparison to the organic and natural forms apparent in all aspects of the rest of the works.
When a piece easily disregarded as a decorative feature hung above the guest book is viewed through the mirror, the shapes on the prints spell out "OAK" and "IVY." It is details such as these, things that could go unnoticed by the hasty visitor, that make the exhibition truly worthwhile.
Though small, this exhibition demands more than a quick walk-through. The gallery does not intend to tell the visitor what the exhibition is about; there is no wall text and no introduction explaining the purpose and inspiration for the works on display. Instead, the visitor must spend a few moments with the works in order to discover the exhibition's many intricacies.
