“A boat is not a destination, or a conclusion, as a house or a piece of land might be, but a means to reach conclusions, and destinations that otherwise you could only dream of.” That quote, by Adam Nicholson (Seamanship), appears at the beginning of the Stationary Voyages: The Boat in Photograph exhibit at the Mariner’s Museum in Newport News. It’s also a very apt introduction into the exhibit and the out of the ordinary body of work currently on display. The result is a unique and surprisingly intriguing collection that the art lover and maritime enthusiast both can appreciate.

Twenty photographers were asked to take pictures of a variety of vessels and encouraged to use their imagination for their final pieces. The photos themselves definitely veer away from the traditional realm of photography and journey between the ultra-modern and subtly enhanced digital format. In what I think is an appealing and distinctive idea, the actual boat is displayed along side the photographs. This allows the viewer to see the physical reality of each vessel and then compare that against each artist’s interpretation of that craft.

One of the first pieces to catch my eye hangs above an old, rustic Alaskan kayak. (I have to admit I’m partial to the kayak since I’m a novice kayaker myself.) The photos were taken and enhanced by Stephanie Frantz. She used light and shadow to her advantage and cleverly created silhouettes that slyly hint of seals and sea monsters. She finishes the images with a bit of digital manipulation and the outcome is a noteworthy display.

Going along with the theme of superior use of light and shadow,

the photographs of the sailing canoe from Solomon Islands taken by Jeffrey Dykes are incredible.

I was also very partial to Thomas Siegmund’s photographic interpretation of the life car, which was used at one time to rescue passengers on ships that were unlikely to complete their voyages home. When I looked at the soft, pale images of the life car sharing its space with a delicate female form I couldn’t help but think of the people that had at one time been passengers on the boat. I imagine that they would have seen the woman as an angel either guiding them to safety or escorting them gently into death – a vision of compassion during a literally turbulent moment in their lives.

While Siegmund’s interpretation of his vessel hints of lightness and compassion, Ron Carnegie’s interpretation is of the completely opposite spectrum. Using plate photography, Carnegie photographs his boat, a Venetian Gondola, with an outcome that makes one feel as if each piece is part of a dark funeral procession. Details of the gondola stand out moodily, somewhat eerily. It almost seems as if each image is a ghost that is attempting to reach out to you in order to whisper tales of their sad, snarled lives. 

What really makes this exhibit successful is that the boats are physically displayed along with each series of artistic interpretations. I think one without the other would have lessened the overall impact of the exhibit. The outcome of this juxtaposition allows you to really appreciate the imagination that the photographers were able to draw upon and utilize for their displays. And don’t underestimate the beauty of the boats themselves – they are as much pieces of art as any of the displays. I have to mention that there’s even a video entry in this exhibit that I think will be enjoyed as much if not more so by patrons expecting only photographs.

The Stationary Voyages: The Boat in Photograph exhibit at the Mariner’s Museum is a unique display combining imagination, photography, and nautical interests that will be available to the public through January 20, 2008. For more information regarding the Mariner’s Museum, go to http://www.mariner.org.