Whether they are specifically making a statement, capturing beauty or exploring patterns and colors, the photographers in “Expanded Visions 2019” have created a striking show at The Ware Center.
As always, Expanded Visions is a juried show featuring a wide variety of photography.
Some photographs explain themselves easily, others are more mysterious.
They all are intriguing enough to make you want to explore them, to consider all the elements within the frame.
Juror Eric Forberger selected first, second and third place-winning photographs, along with five honorable mentions.
First place went to Anthony Kham for “Solitude.” It shows an athlete — probably a basketball player — lying on a bench in a small, deserted locker room. His uniform and sneakers are colorful, while his surroundings are a dingy gray.
Jesse Egner’s second place photograph shows a person in a bathroom, sitting on a toilet wearing black pants and a denim vest drinking from a big gulp cup with a straw writing out the word daddy.
It is part of Egner’s “Disidentifications” series.
The bathroom itself is delightful, with Pepto-Bismol pink tile walls, a retro black-and-white floor and a white radiator with flaking paint.
Third place went to Brian R. Tolbert for “Moldovian fashion models at Alexander Pushkin Museum, Moldova.”
A dramatic couple poses in front of a building, wrapped in ethnic costumes and red scarves. Near them, a little girl, dressed in a contemporary sun dress, stares into the camera.
Honorable mentions include Benoit Barbe for “Face Armor,” a strong profile of a young woman, whose long hair wraps around her face.
Karen Coming’s “Love and Corn Dogs” is a busy black-and-white photograph of a food stand at a fair, with a man kissing a woman holding a plate of corn dogs, surrounded by kids. It’s full of life and energy..
David Stackhouse’s “Flyover” is a bird’s-eye view of a beach with fences across the sand and the wings of two birds in flight.
“Full Shutdown,” by Kevin Leese, is a black-and-white photograph of a woman bending down to touch the floor.
“Jekyll/Hyde,” by Ole Hongvanthong, is a slick portrait of a man in Victorian garb and top hat sitting in what could almost be a throne, with rich colored lights filtering the page.
Many other strong works are in the show.
Jacqueline Righter’s “Florence” shows a man sitting on a stone bench in front of an ancient building. What lifts up the highly composed photography is the man is using his cellphone.
“Wheat Harvest,” by Art Petrosemolo, is beautifully lit, giving the barn scene with a young girl a painterly quality.
Tana Reiff’s “Brilliant Canopy” is a lovely portrait of a horizon of a yellowish sky, blue fading away and the darkness of the ground settled between a row of leafless trees.
Patrick J. Cooney’s “Walking Together,” shows a young man and a boy walking down a city sidewalk, in front of a wall painted yellow, with shadows filled with slats.
Jon Jon Yates’ “Sin Sin Swil” is a fascinating look up from a hole toward a tree in the sky. The colors, from purples and greens to grays almost dance in the twirl of the scene.
Plenty of portraits make you stop and look.
Brent Smith’s “Rico,” is a moody black-and-white portrait of a young man, his face caught in shadows.
Two colorful portraits of women with face paintings and henna tattoos, by Michelle Johnsen, are quite striking.
Osmyn Orec’s “Head Wrap on Head Wrap” is a huge portrait of a woman wearing a head wrap, her eyes looking down.
Hanna Meier’s portrait of a young man sitting under a chandelier in a dining room, his hand holding up his head, is perhaps ironically called “Commencement.”
And “Annie” is a black-and-white portrait by Sheila Riley of a woman almost defying us to look closer.¶