Peter B. Chase's poems have a fondness for life's physical and emotional flotsam: cardboard boxes, old sweaters, an elevator, a baby grand piano, a spinning wheel, a skull thrown from a balcony. Chase trusts the reader and almost never announces the significance of these objects, but lets the metaphorical weight accumulate as the highly personal verse unfolds.
His photographer's instinct — to put "little brackets" around things — is also his poet's instinct. The images are likewise highly eclectic — from exotic landscapes to surreal macro worlds to urban street photography. They are all made with the same restless instinct — to reveal what is evocative — whether the subject is a galaxy from a mountain top, or a naked mannequin in an alley.
Initially it all seems a bit of a dog's breakfast, but when you look a little deeper surprises surface: the stillness of a Shan shui painting, the unflinching directness of a Diane Arbus, or even, in his very best landscapes, the sweep of a Sebastião Salgado — all refracted through the vision of a guy who's been at it since the 1970s, and still hasn't decided what he wants to be when he grows up.
This melding of Light and Language — poetry and photography — does not come with a familiar formula. We cannot say the images illustrate the poetry or that the poetry is an explanation of the pictures. Seemingly random juxtapositions create unresolved tension that entices the viewer to envision the connection between the two — the results can be singular.
The gallery Dreams and Memories begins with this short but highly evocative poem.
Boxes
I carried cardboard boxes filled with books, pots and pans, and clothes,
up the stairs to my new apartment
I counted each of the twenty four steps
One for each year it had been, since I last lived alone
It's followed by a photograph of a sketch of a young boy, staring directly at the viewer. However it appears decayed and is falling out of its frame. The face is partially obscured by an adult hand that seems to be waving the viewer away, yet the direct gaze of the boy penetrates effortlessly. The result is unsettling but strangely poignant.
Mr. Chase calls it "Documentary Surrealism," which is either an authentic aesthetic philosophy or a very clever way of saying "I make it up as I go." Possibly both?
Mr. Chase studied art and photography properly, at actual universities, so there's concept and technique under the chaos. But his real education has been in the decades since, traveling the world second guessing his choice to carry a heavy pack with camera gear. He now lives in Virginia with his remarkable girlfriend and a zero-pet policy.
So is it art? Pity, but you'll have to decide. Peter's just going to keep making the pictures either way.