In A Country Mile

clockwise from entrance

Emergency Exit
2020
28” h x 23.5” w
archival print on Plexiglas over museum board, framed in painted aluminum
edition: unique

Stage
2020
23.5” h x 28” w
archival print on Plexiglas over museum board, framed in painted aluminum
edition: unique

Exit
2020
28” h x 23.5” w
archival print on Plexiglas over museum board, framed in painted aluminum
edition: unique

In The Corner
2020
23.5” h x 28” w
archival print on Plexiglas over museum board, framed in painted aluminum
edition: unique

Upon Exit
2020
28” h x 23.5” w
archival print on Plexiglas over museum board, framed in painted aluminum
edition: unique

Upon Entrance
2020
28” h x 23.5” w
archival print on Plexiglas over museum board
framed in painted aluminum
edition: unique

On The Floor
2020
23.5” h x 28” w
archival print on Plexiglas over museum board, framed in painted aluminum
edition: unique

Corner
2020
23.5” x 28” w
archival print on Plexiglas over museum board, framed in painted aluminum
edition: unique

On The Floor, 2
2020
23.5” h x 28” w
archival print on Plexiglas over museum board, framed in painted aluminum
edition: unique

In a Country Mile, consists of nine photographic ink jet prints on Plexiglas. All of these were taken at the meeting hall of a local fraternal order infused with festive atmosphere for a birthday event.  A birthday, being the measure of cumulative years manifested in a celebration that typically encourages abandon, self deception and forgetting, provided a perfect environmental catalyst for this new series of pictures.  The focus of the pictures is on the party lights, artificial smoke and decorations—the very elements that interfere with the reading of an empty rectangular room.  The iPhone 11 camera was used in this case as the latest in “black box” apparatus, equipped with sensors, processor and software able to read and display much more information from a dark scene than ever could have been gleaned, in the past, through the analog workings of aperture and exposure time. For the artist, this was the clearest way to record ambiguity currently accessible.  This ambiguous data, which is largely generated by the technology itself, is here seized as a point of meditation on the fate of perception, memory, cognition and knowledge in the age of artificial intelligence. The images have been printed without white ink directly onto Plexiglas, their transparency allowing light to pass through the pigments before reflecting off a white backing surface. This makes for a subtle delay of light in articulating these prints, encouraging a viewing experience that is only possible in the space where they are hung.  The subject of spatial disorientation via visual stimulus—in regard to both the delirious nightclub incursion into the meeting hall and what the camera makes of it—is thus underscored by the material facts presented to the viewer.  The title In a Country Mile employs the 19th century figure of speech to refer to a deceptive impression of physical distance.  The mile, as an exact measurement, can actually feel longer or shorter as we cross it, due to the diversions (or lack thereof) encountered along the way. In a Country Mile is part of Hanley’s continued examination the fickle relationship between photography and questions of judgment, encouraging viewers to take a long, even slowed-down view of their environmental, as well as informational, surround.

In A Country Mile ISH Colab 778 North Virgil Avenue, Los Angeles, CA 90029 August 23 through September 26, 2020