[Originally published in The Dallas Morning News]
The photographs making up Brian Kosoff’s exhibition at Afterimage Gallery, “The Illumination of Night,” crackle with the voluptuousness of poetry. He presents visions of night skies and planetary rotations coupled with sailing vessels, churches, highways and Southwestern landscapes. Because he creates photographs at night, he calculates directions, angles, exposure times and weather with the precision of a sailor navigating with an astrolabe.
This specific kind of brilliance might lead some to understand his work by reveling in its sheer virtuosity. Dixon Cemetery, for instance, is a tour de force of lighting, composition and technical perfection. However, it is also a study of mesmerizing planetary rotation, star trails and theological underpinnings, ultimately detonating with an imagistic theater of crosses and plaster figures. It sparks with the intersection of earth and heaven wherein, to paraphrase scripture, we live and move and have our being.
There’s no need to pack your hymnal when you see Kosuff’s show; however, it is guaranteed to evoke a state of dreamy luminescence. Boats at Night, Scotland is yet another example of a two-dimensional work that operates with magic akin to the three-dimensional shimmer of rolling mercury.
Kosoff lives near Manhattan and honed his skills as a commercial photographer before going off-road to work solely on producing work depicting landscapes. (How fortunate for us.) He shows us places of such splendid isolation that they offer encouragement to extricate ourselves from the daily scree of distractions in favor of searching for all-too-rare rapturous moments.