greatleapsideways:

"The landscapes in Crossing open up linkages to Ruwedel’s Dusk series, and to his photographs of tree houses and abandoned settlements. Gradually, the patterning of these distinct but bonded series forms a kind of autobiography of objects — an autobiography in which we sense the poetic rendering not merely of differing systems of time, but of collective vulnerabilities set against the complexity of the western desert. It is an arid meniscus, a final perimeter bridging the desperation of flight and the stability of freedom —  the desert as the seedbed of multiple utopias, and the indomitable surface of tectonic cycles beneath which the slow-moving gears of geological time churn with dogged and irrepressible indifference.”
— from “An Autobiography of Objects: a brief thought on the work of Mark Ruwedel”
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greatleapsideways:

"The landscapes in Crossing open up linkages to Ruwedel’s Dusk series, and to his photographs of tree houses and abandoned settlements. Gradually, the patterning of these distinct but bonded series forms a kind of autobiography of objects — an autobiography in which we sense the poetic rendering not merely of differing systems of time, but of collective vulnerabilities set against the complexity of the western desert. It is an arid meniscus, a final perimeter bridging the desperation of flight and the stability of freedom —  the desert as the seedbed of multiple utopias, and the indomitable surface of tectonic cycles beneath which the slow-moving gears of geological time churn with dogged and irrepressible indifference.”
— from “An Autobiography of Objects: a brief thought on the work of Mark Ruwedel”
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greatleapsideways:

"The landscapes in Crossing open up linkages to Ruwedel’s Dusk series, and to his photographs of tree houses and abandoned settlements. Gradually, the patterning of these distinct but bonded series forms a kind of autobiography of objects — an autobiography in which we sense the poetic rendering not merely of differing systems of time, but of collective vulnerabilities set against the complexity of the western desert. It is an arid meniscus, a final perimeter bridging the desperation of flight and the stability of freedom —  the desert as the seedbed of multiple utopias, and the indomitable surface of tectonic cycles beneath which the slow-moving gears of geological time churn with dogged and irrepressible indifference.”
— from “An Autobiography of Objects: a brief thought on the work of Mark Ruwedel”
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greatleapsideways:

"The landscapes in Crossing open up linkages to Ruwedel’s Dusk series, and to his photographs of tree houses and abandoned settlements. Gradually, the patterning of these distinct but bonded series forms a kind of autobiography of objects — an autobiography in which we sense the poetic rendering not merely of differing systems of time, but of collective vulnerabilities set against the complexity of the western desert. It is an arid meniscus, a final perimeter bridging the desperation of flight and the stability of freedom —  the desert as the seedbed of multiple utopias, and the indomitable surface of tectonic cycles beneath which the slow-moving gears of geological time churn with dogged and irrepressible indifference.”
— from “An Autobiography of Objects: a brief thought on the work of Mark Ruwedel”
Zoom Info
greatleapsideways:

"The landscapes in Crossing open up linkages to Ruwedel’s Dusk series, and to his photographs of tree houses and abandoned settlements. Gradually, the patterning of these distinct but bonded series forms a kind of autobiography of objects — an autobiography in which we sense the poetic rendering not merely of differing systems of time, but of collective vulnerabilities set against the complexity of the western desert. It is an arid meniscus, a final perimeter bridging the desperation of flight and the stability of freedom —  the desert as the seedbed of multiple utopias, and the indomitable surface of tectonic cycles beneath which the slow-moving gears of geological time churn with dogged and irrepressible indifference.”
— from “An Autobiography of Objects: a brief thought on the work of Mark Ruwedel”
Zoom Info
greatleapsideways:

"The landscapes in Crossing open up linkages to Ruwedel’s Dusk series, and to his photographs of tree houses and abandoned settlements. Gradually, the patterning of these distinct but bonded series forms a kind of autobiography of objects — an autobiography in which we sense the poetic rendering not merely of differing systems of time, but of collective vulnerabilities set against the complexity of the western desert. It is an arid meniscus, a final perimeter bridging the desperation of flight and the stability of freedom —  the desert as the seedbed of multiple utopias, and the indomitable surface of tectonic cycles beneath which the slow-moving gears of geological time churn with dogged and irrepressible indifference.”
— from “An Autobiography of Objects: a brief thought on the work of Mark Ruwedel”
Zoom Info
greatleapsideways:

"The landscapes in Crossing open up linkages to Ruwedel’s Dusk series, and to his photographs of tree houses and abandoned settlements. Gradually, the patterning of these distinct but bonded series forms a kind of autobiography of objects — an autobiography in which we sense the poetic rendering not merely of differing systems of time, but of collective vulnerabilities set against the complexity of the western desert. It is an arid meniscus, a final perimeter bridging the desperation of flight and the stability of freedom —  the desert as the seedbed of multiple utopias, and the indomitable surface of tectonic cycles beneath which the slow-moving gears of geological time churn with dogged and irrepressible indifference.”
— from “An Autobiography of Objects: a brief thought on the work of Mark Ruwedel”
Zoom Info

greatleapsideways:

"The landscapes in Crossing open up linkages to Ruwedel’s Dusk series, and to his photographs of tree houses and abandoned settlements. Gradually, the patterning of these distinct but bonded series forms a kind of autobiography of objects an autobiography in which we sense the poetic rendering not merely of differing systems of time, but of collective vulnerabilities set against the complexity of the western desert. It is an arid meniscus, a final perimeter bridging the desperation of flight and the stability of freedom — the desert as the seedbed of multiple utopias, and the indomitable surface of tectonic cycles beneath which the slow-moving gears of geological time churn with dogged and irrepressible indifference.”

— from “An Autobiography of Objects: a brief thought on the work of Mark Ruwedel