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RECHARGER
is a recharged Charger (of the '72 Dodge variety). Deconstructed
into slices, it is reassembled clinging to the road on a
wrenching arc. A low-angle camera shot, the aspect is under-car
and overarching, thrusting, in your face. A quads and biceps-mobile.
Classic motor muscle wrought to extreme. Shot through and
suffused with hectic hot-palette colour, it's as cool as
can be. Is there anything else to add? More bombast, please!
The remaining canvases are a little quieter - though not
all.
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A REUNION is a meeting of motors
- like motors. All pre-1940 or thereabouts. Curvy and bulbous,
Airflow influenced, their arcs of coincidence meld one into
the other (except for the upmarket Pierce Arrow keeping its
distance at the back). Softly accented in light ochre, the
all-metal American-style coachwork is understated and mellow.
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A POOR PLYMOUTH. A late fifties
eyebrow exercise. Typical Chrysler lineage. And suffering
a little dereliction. Sound nonetheless. Now playfully chromatised
and made merry.
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SPACED is
all that a '59 Caddy grill is and ever was. Hovering amidst
dark matter it is Cape Canaveral high end. Shot through with
a rainbow hue, its distressed cosmos-beaten surface is certainly
other world. Good ol' gas guzzler. You've landed!
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THE DUESY. The
first twenty-grand car of the Thirties. More expensive than
a Rolls or Cadillac (and faster). The great eight-in-a-line,
mercury-stabilised, 135 mph, open-bodied, multi-ton Duesenberg.
Designed by Gordon Buehrig, he of the Cord and Auburn. It
is viewed low-angle, full-frontal. A gently sparkling radiator
and wide-span velvet-dark wings quietly announce the latent
power.
A Gatsby of a thing.
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| LE MANS. A
distinguished competitor at the great racing venue. This production
two-seater Singer Le Mans roadster is much the same as a race
entrant. What a sepia car portrait is all about. Well-ordered
automotive space showing the vehicle to full advantage. Crisp
detail and solid reflections (without the photographer's face
and tripod!). |
