ART • DANCE • THEATER • MUSIC ENTERTAINMENT Page A8 North Adams Transcript • Friday, August 12, 2011 www.TheTranscript.com Time and space collapse in photographs By John Seven approach for the visual layer- North Adams Transcript ing by printing her images on ADAMS — Photography is transparencies and then creat- the result of combing light and ing the layered image within time into one singular the lightbox itself. moment, but Cynthia Lawson Lawson doesn’t shoot with a has turned that inside out by tripod — she strives for spon- creating images that show all taneity, which requires people moments at once, collapsing to not notice that they are the law of physics on the being photographed. Digitally, gallery wall. Lawson might adjust the layers Lawson’s work will be shown to match architecturally, and along with Ven Voisey’s at then she prints them. Once the Greylock Arts, 93 Summer St., layers are printed on trans- beginning Friday, Aug. 19. parencies, Lawson begins to Two of the works to be dis- play with the quantities she will played are “The Shops, 96 use to craft the image. Seconds” and “Beaubourg, 36 “If I print too many, the Seconds #1 and #2,” both of piece can get very, very dark,” which use layering techniques to she said. “If I print too few, it highlight patterns of movement loses the effect of having a through time that are impossi- three-dimensional depth, so ble for human eyes to decipher part of that is also being able to without help. That is where the manipulate them once they are similarities end, with Lawson physically printed.” using different technologies to Lawson’s photo are taken at achieve similar results. regular intervals and, when In “The Shops, 96 Seconds” arranging the transparencies, Lawson captures an area filled she keeps this in mind, making with people by taking 42 pho- sure that the duration between tographs in 96 seconds and the layers are consistent. then spending hours photofin- “I’m pretty anal about mak- ishing digitally for the final ing sure that I’m snapping it almost the exact same time,” Photo courtesy of Cynthia Lawson image. Lawson begins by creat- Cynthia Lawson’s ‘The Shops, 96 Seconds.’ ing a blank slate, digitally Lawson said, “so at half-sec- removing all the people in the ond intervals I take every pho- thick enough that you get a ing there.” I could, through photography, in a variety of media, I really images to provide a base layer tograph, and then, let’s say I sense of physical depth that Lawson began this work on a start to share the time of a city wanted to bring something new from which to build. have six photos, I will either represents time passing.” visit to Tokyo — it wasn’t the in some way,” Lawson said. “I to photography. That’s the “I identify the various char- print all six consecutively or Each photo represents one plan, but a result of her making guess I’ve been looking more impetus behind the work.” acters that I’m interested in print two, four and six — I moment in time with many the most of the materials she at readings in urbanism, so one Though Lawson paints in extracting,” Lawson said. “The never print one and two and people, but the work is part of had at hand. particular reading that I love is time and uses the moments to characters were never digitally six.” a larger body, called “Hidden “I took a bunch of photo- this idea that the city is in con- find patterns while looking at drawn to be in a place where Lawson’s process is compar- Choreographies,” in which graphs in a train station, and it stant motion because people all moments at once, she does- they were in the photos. I go ative to that of the Hubble Lawson attempts to uncover was so chaotic. It was really are always moving through it n’t come to that with a scientif- through the photos, it’s a very Telescope, in which different the unnoticed patterns and amazing, that the density of and that’s the motion that I’m ic outlook despite the similari- meticulous process of extract- black-and-white images that movements of a city that exist people walking in front of me,” trying to capture and share.” ties. She feels it might be inter- ing each character from each capture various colors are consistently due to the urban said Lawson. “When I got This was combined with a esting to move in that direction one of the photos in which they combined and applied to a design. Her work has an aspect back, I had all these photos larger desire to add something — her background is in electri- were walking.” color processing system to of time-lapse photography, but and wished I could capture it to photography by acknowl- cal engineering. “There are more people that fashion something that can’t be she also exacts control that is on video and started playing edging other medias that had “Some people have related I extracted that I ended up not seen by the naked eye. As with not allowed for in that form around with how these could cropped up in our technologi- my work to quantum physics, including in the work, and the Hubble, the human limita- “I’m creating a manipulation potentially become longer cal era and might lend them- the idea that we can be in two there are more people that tions of time and space percep- — not so much digitally durations of time than just one selves to capturing such intan- places at the same time,” she were in this shot that I just tion require the presentation manipulating the scene, but photo itself, and that’s what gibles as the flow of time in a said. “The question is always never paid attention to. But of such facsimiles to perceive manipulating the viewer and lead me to creating these light new ways. how I did this —what am I see- I’m interested in extracting the the imperceptible — and phys- questioning what is it I’m look- boxes and the layering and all “I wanted to push back on ing — and people often think ones that seem so performative ical labor on the pieces add to ing at,” she said. “So my of those ideas. “ what I mostly see in photogra- that I am digitally producing for the viewer of the artwork.” that. favorite question is, what is The work proved to be a per- phy, which is one photograph,” new people where there For her “Beaubourg, 36 “Between each print there’s real, and what is digitally creat- fect way to capture the individ- said Lawson. “I think that with weren’t any, but it is just col- Seconds #1 and #2” series, a sheet of acrylic,” Lawson ed in these? The taxis in the ual pulses of cities she had vis- current technologies, almost lapsing time and space in dif- which presents the resulting said. “The thickness of that background never move, but, ited throughout her life, anyone can take and print and ferent ways.” images in a grouping of light- acrylic is thin enough so you of course, they were moving including in childhood. frame a beautiful photograph. Cynthia Lawson can be found boxes, Lawson takes a physical can still see the next layer, but through the time I was stand- “I was very interested in how I felt that as an artist working online at cynthialawson.com. France and Fratelli stand up to be noticed By John Seven film meant to portray this dia- North Adams Transcript logue to Americans. It is a for- eign film that seems to have DVD been made as an explanation “Queen To Play” (Zeitgeist of culture to its potential view- Video) ers across the sea, and therein Chess as a metaphor is not so lies the secrets of its allure. obscure, and in cinema it Music always goes straight back to “The Seventh Seal” as a strug- Jon Fratelli — “Psycho gle for mortality, as a micro- Jukebox” (Island) cosm of the highest stakes. The ex-Fratellis front man In “Queen To Play,” chess Image courtesy of Island Records delivers a 16-point argument The Fratelli’s frontman instead stands for more inti- for why he should be a super- breaks free. mate concerns like empower- star on this solo debut. Fratelli ment, the ability to control all With the conflicts set up — has two albums by his former the parts of one’s own life, as both dramatic and metaphori- band — one brilliant, one tol- well as some middleground cal — the audience watches erable — behind him, as well issues on the cosmic stage, like Helene fight the adversity of as his wild ride of a boy/girl a woman’s place in a family. small minds in order to master duet album with burlesque the game of chess, which is performer Lou Hickey under The Kiosk treated almost like dancing is the name Codeine Velvet Club, Photo courtesy of Zeitgeist Video in “Footloose.” And that which ushered in plenty of rev- Sandrine Bonnaire in ‘Queen To Play.’ Helene (Sandrine Bonnaire) makes for some very bizarre elations about the stylistic and he can channel his inner “Oh, Shangri La” — which is an energetic mix of showman- is a housekeeper and hotel maid undercurrents in the film, turns Fratelli is capable of. Gene Pitney via surf rumba not unlike an Abba rave-up — ship and sincerity that coa- who becomes obsessed with not revealing it as a bit of unpre- With “Psycho Jukebox,” stylings on “Give My Heart Fratelli has crafted a work lesces in an album that feels just learning, but mastering the tentious French cheese with Fratelli is once again jumping Back Macguire” as easily as he designed to show off his more like a full-blown stage game of chess after witnessing a such an odd core that it can’t styles and genres, all of them can Marc Bolan, as he does on strengths in a sprawl that ends revue. He’s eclectic and acces- flirty match during her job. At help but be appealing. with a feeling of impending “She’s My Shaker.” And up seeming remarkably cohe- sible all at the same time, and first making overtures to her “Queen To Play” uses the hugeness. there’s plenty more in sive by the end. he should conquer an America oafish husband — aren’t they quinntessential “underdog tri- Fratelli is one for bombast between, from the ‘60s jive of Thus is his musical arsenal — desperate to remember what always — she stumbles into an umphs against adversity” trope and drama, as well as raunch, the opener “Tell Me Honey” to it’s like to actually rock. extracurricular opportunity with that makes it seem almost an secretive and abruptly man- American, and that may be the nered doctor (Kevin Kline) who key to its likability. Even as a begins to see the appeal of play- look into French sentimentali- ing a chessmaster Obi-Wan ty in regard to empowerment, Kenobi to Bonnaire’s appealing and a self-examination of soci- ZANY UMBRELLA Luke Skywalker as French etal chauvinism, “Queen To cleaning lady. Play” comes off as a hybrid CIRCUS & OKO Ukulele Orchestra to play Sunday SOKOLO COMPANY NORTH ADAMS — The Zeppelin to Radiohead. Fri. August , Sat. August , & Sun. August  Ladies Auxiliary Ukulele Orch- Audience members are en- : & :pm each day estra will perform on Sunday, couraged to bring their own Pittsburgh’s Zany Umbrella Circus, a delightful throwback dedicated to folk Aug. 14, 7 p.m., at Minerva ukuleles to the show for a artistry of all kinds—puppetry, circus, music, storytelling, street theatre and Stage, 1288 Massachusetts Ave. “Uke-in” toward the end of the visual arts—teams up with Germany’s Oko Sokolo Company to present this dazzling work, inspired by the children’s book Mirette on the Highwire. At a Formed in 1994, members performance. The band passes include songwriter and educa- little inn in Paris in the s, a young girl finds her calling, while her youthful out extra instruments, teaches courage and optimism reignites a love of the art for a wire-walking superstar. tor Bernice Lewis, composer songs, and invites the crowd to The performance uses physical theater, masks, dance, and circus, with staging and teacher Cathy Schane-Ly- that gives a nod to a time when bohemian artists created theater in rehearsal don, and artist Sarah McNair. join in. halls illuminated by gaslight. The orchestra’s set list fea- Tickets are $10 for adults, $5 Joe’s Field or Hunter Center /  adults /  kids tures songs from every musical for students, seniors, and chil- dren. Information: minerva era, ranging from Mozart to  Marshall Street, North Adams, Massachusetts  For tickets, call .MoCA. or visit massmoca.org the Andrews Sisters, from Led stage.com or 413-346-4502.