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Stephen Mallon"Italian Forest" framed photograph, 40"x60" signed and edition #4/5 on reverse
$10,500
£7,934.50
€9,162.41
CA$14,672.16
A$16,280
CHF 8,527.82
MX$199,636.54
NOK 108,470.88
SEK 102,391.88
DKK 68,329.80
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About the Item
40"x 60" framed Chromogenic large scale photograph by the New York artist, Stephen Mallon, edition #4 of 5 signed on reverse, This is the second to last available print in this edition, framed in a high quality hardwood shadowbox frame, with spacers and wooden strainer. Mounted on plexi to show signature and edition on reverse. (41.5" x61.5"x2" framed dimensions)
Stephen Mallon’s otherworldly “Italian Forest” is a grove of trees in an industrial tree farm in Northern Italy. Mallon’s composition directs the viewer to see the parallels and repetition within the forest. The trees themselves seem to have a metallic quality and the green of the tree canopy creates a horizontal pattern which almost appears to be an abstraction against the geometry of the planted natural landscape.
The recycling industry in America and its various facets has been an over-arching theme in Mallon’s work for over a decade. Mallon’s works always hold optimism in the innovation of salvaging techniques, showing the possible gains that can be made as industrial waste is revivified.
Mallon is known for his photographs of big (with a capital “B”) things crashing, sinking, levitating, being dismantled or constructed. In “American Reclamation” many of the subjects are small bails, stacks, compressed cubes, mounds, random/shapeless units, and swirling vortexes. Light gleams of the corners and facets of gears and chrome strips or fades indistinctly into bails of office papers that have been squished into abstract forms.
The subject in many cases consists of many small units that make up a much larger whole, which in turn covers the complete surface of the photograph. In the photograph “UBC,” thousands of shiny aluminum can tabs form what seems to be a whirlpool that is sucking them, like tiny ants into the darkness in the center. In “Nothing Has Changed,” cubes of crushed metal are stacked into a large hill, reminiscent of the constructions made by the animated robot in “Wall-E”.
Mallon’s series, “American Reclamation” will be a big part of his upcoming monograph that chronicles all of his work of the last 15 years. Mallon’s work has been exhibited in museums and galleries internationally, and his work has been written about in many publications, including National Geographic, The New Yorker, New York Times, Vanity Fair, Wired, CNN, MSNBC, Stern, PetaPixel, Viral Forest, BuzzFeed, New York Magazine, The Huffington Post, CBS, and NPR.
- Creator:Stephen Mallon (American)
- Dimensions:Height: 40 in (101.6 cm)Width: 60 in (152.4 cm)
- More Editions & Sizes:20"x30" edition of 5Price: $2,15030"x45" edition of 5Price: $4,200
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU6922480541
Stephen Mallon
Stephen Mallon is a photographer and filmmaker who specializes in the industrial-scale creations of mankind at unusual moments of their life cycles.
Mallon is well known for his series "Next Stop Atlantic," featuring decommissioned NYC subway cars as they are retired in the depths of the Atlantic Ocean as artificial reefs, as well as his series "Brace for Impact," which chronicles the reclamation of the plane which was successfully landed in the waters of the Hudson River by Captain "Sully" Sullenberger.
Mallon’s work has been exhibited in museums and galleries internationally and his work has been written about in many publications, including National Geographic, The New Yorker, New York Times, Vanity Fair, Wired, Stern, PetaPixel, Viral Forest, BuzzFeed, New York Magazine and The Huffington Post. Mallon’s work has also been featured on CNN, CBS, MSNBC and NPR. Mallon lives in New York with his wife and daughter.
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