Sally Gall

Born 1956, Washington, D.C.

Sally Gall photographs the natural world and its relationship to humanity, creating bodies of work about gardens, cultivated landscapes, wild landscapes, as well as the creatures that live at ground level, and things that float through the sky.

Throughout the 1990’s Gall photographed formal and cultivated landscapes (topiary gardens, fields of sunflowers) and their opposite, wildness and wilderness, with an emphasis on watery landscapes, and on the horizon line between water and sky.

In 2000, Gall literally went underground, into caves, to produce a body of work, Subterranea, which focused on the "twilight zone" between daylight and darkness, and the portals “into the earth”.

In 2004, Gall began to work in color, switching from her lifelong involvement with black and white. In “Blossoms” she worked closer to home (New York City) on a refined investigation of nature within an urban space, capturing the vivid colors of blossoming spring trees in Central Park, an ephemeral moment of nature in an urban environment.

Continuing her work in color photography, Gall created the series Crawl, 2007, in which she closely examined tiny creatures such as worms, spiders, and butterflies, living in close and extended proximity to a formerly agrarian environment in Italy.

In Web (2009) Gall returned to black and white photography, capturing the details of intricate spider webs with abstract precision.

Unbound (2012) deals with the abstract concept of being gravity-less.
Clouds, airplanes, and contrails figure prominently. Planes are poetic objects, heavy metal bodies which appear to float with ease. Clouds, which can contain literally tons of water, also appear weightless.

“Clouds, airplanes and contrails share the airspace we inhabit when we are unbound. If they can escape the constraints of gravity, why shouldn’t we?” – Sally Gall

Aerial (2016) is a leap into vivid saturated color and abstraction. Photographing “found” laundry, Gall creates images out of the delicate dance of hanging laundry as it morphs from human to abstract; bright and billowing clothing, choreographed by the wind, against a brilliant sky."

“Ordinary textiles such as bedding, towels and clothing filled the
canvas of the sky with metaphoric amoebas, sea creatures, swarming
birds, blooming flowers. They were like variants of Miro or Klee
paintings. “Aerial” continues my photographic investigation
of the sensual properties of the natural world (light, air, wind) and
our interactions with it. I am searching for poetry in the everyday, and the miraculous in the ordinary. “ – Sally Gall

Her most recent solo exhibition Heavenly Creatures is made up of kites, billowing in the air, as observed at festivals in Italy, Denmark, Washington and New Jersey. She records the skyward movement of cloth and paper flying machines, fragile objects connected to earth by tenuous strings - and like laundry, a universal human occupation. As in Aerial, these images are transformative, a celebration of color and suggestive abstract form. Both Aerial and Heavenly Creatures continue Sally Gall’s lifetime investigation of the sensual properties of the natural world; light, air, wind, and sky. Abstracted by composition, context, and color, these anthropomorphic photographs suggest sea creatures, constellations and other planetary forces, blooming flowers, microscopic amoebas.

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