The stillness of these landscapes allows Mancini time to stalk just the right scene, just the right composition. It feels like he’s following in the footsteps of the great nature pho-tographer Ansel Adams — and meriting the comparison. One photo shows three boulders lined up in a row. Mancini uses his command of tone to contrast the grainy surface of the rocks with the fleecy leaves of trees behind, the horizontal striations of the stones to the left, and the vertical furrows in the rock walls in the right distance. These are sensual im-ages.
And these are the photos of a seeker. The through line of all the work is Mancini’s questing for connections with the ancient, the sacred, the eternal. In his stone landscapes, you can feel the weight of time. At Mancini’s best, his prints are awesome, in the old meaning of the term — a mix of reverence, dread, and wonder in the face of the sublime.
CORRECTION: Writing about an exhibit at AS220 last week, I misspelled the name of artist Serena J.V. Elston and mistakenly described Meredith Younger’s real azaleas as being fake. D’oh! Please accept my apology.
Read Greg Cook’s blog at gregcookland.com/journal.
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