Nox Borealis (2012) is perhaps the most surprising and difficult-to-fathom work in Penumbra. Despite the generous size of these large-format, nearly 1:1 ratio images taken in Iqaluit, we can see very little. They are almost completely black, challenging our stereotype of the “Great White North.” Equally disorienting is Wright’s decision to present these monoliths as self-supporting sculptures standing in the middle of the gallery, rather than hanging on the wall. What these works are supposed to be, show, or obscure, and how they were made, remain open questions. However we respond to such specific puzzles, all of Wright’s images extend our field of vision simply, magically, and profoundly.
This guest post by Samantha Detwiler is brought to you by CONTACT festival. For the complete schedule of events and exhibition, visit www.scotiabankcontactphoto.com.