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Sean Wilkinson Photography

Primary

  • Affinities
    • Affinities
    • About Affinities
  • China
    • China
    • About China
  • Dayton Part One
    • Dayton, Part One
    • About Dayton, Part One
  • Dayton Part Two
    • Dayton, Part Two
    • About Dayton, Part Two
  • Early & Later Black & White
    • Early & Later Black & White
    • About Early & Later Black & White
  • Emanations
    • Emanations
    • About Emanations
  • Flora Part One
    • Flora Part One
    • About Flora
  • Flora Part Two
    • Flora Part Two
    • About Flora
  • Flora Part Three
    • Flora Part Three
    • About Flora
  • Flora Part Four
    • Flora Part Four
    • About Flora
  • Flora Part Five
    • Flora Part Five
    • About Flora
  • Greenhouses
    • Greenhouses
    • About Greenhouses
  • In Passing
    • In Passing
    • About In Passing
  • Kaddish
    • Kaddish
    • About Kaddish
  • Memoria
    • Memoria
    • About Memoria
  • Norfolk Parish Churches
    • Norfolk Parish Churches
    • About Norfolk Parish Churches
  • Six
    • Six
    • About Six
  • Sketches from Memory
    • Sketches from Memory
    • About Sketches from Memory
  • BIOGRAPHY
  • TEXTS
    • Writing About Other Photographers
      • Ansel Adams DAI 1994/2014
      • Clarence White 2016
      • Desert Cantos by Richard Misrach 1991
      • Don Anderson 1992
      • Doug Prince 1983
      • Harry Callahan 2010/2016
      • Ron Geibert 1992
      • Rule Without Exception by Lewis Baltz 1991
      • Serrano Mapplethorpe WSU 1990/2016
      • Texts from A Birthday with Presence 1989
    • Writing About Photography & Other Topics
      • Being Here: Graul Chair Installation Address
      • DVAC Talk 2007 rev 2015
      • Learning from Minor White
      • Notes on Place
      • Photographs Photography 1990 2016
      • Photography and Translation
      • Photography as Fiction
      • Relationships
      • Two Statements & Two Quotations
  • CONTACT

About Greenhouses

Greenhouse (1993-2000)

When I began this work, I was primarily attracted to small, idiosyncratic enterprises, to places that were in various states of disrepair, redolent with neglect, and ready to collapse. But eventually I was drawn to vast, austere, and prosperous flower factories as well, with their tidy, interior acres, like immaculate, miniature farms under glass.

The essence of a greenhouse is a combination of luminous transparency, oxygen-rich air, and the scent of moist earth. They are paradoxical places, both closely contained and splendidly open. Greenhouses are the flimsiest of skeletons with delicate skins; they change with every variation in the light of day, yet they are bravely indifferent to the seasons. They appear to be structural parables about the mystery of illumination and the illumination of mystery.

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