About the Book
Paens to our disposable culture reside in the industrial wasteland of the Charleston Neck and, if examined closely enough, can become abstractly splendid in their muteness and ruin. Gatherings of objects distinctly individual in their lives often become merged into common patterns and rhythms as they settle into the dust. As pieces of metal are compressed together with great force, their reluctance to bind results in spirited, if not intentional, creations of teture and light. As piles of spent containers accumulate, they become mountains of baroque rust. The peeling paint, the delamination of wood, the gradual disintegration of metal -- all are fit subjects for close examination. And finally, across the vastness of the rail yards, new messages are carried on the sides of container cars, of caustic wit, of anger, and on some, genuine graphic lyricism -- the credos ans signatures of the artist outlaws. The camera reads these 21st century heiroglyphics, and smiles.
Book layout and design by Reid Strauss of Charleston, SC. See Blurb profile at http://www.blurb.com/user/reidstrauss?profile_preview=true or contact directly at firstname.lastname@example.org.
Sandy Logan returned to his native city of Charleston, South Carolina, in 1970 after growing up in Yankee bondage in Philadelphia. He received his Bachelor of English at Cornell University and his Master of Architecture from University of Pennsylvania. He has practiced architecture for his first nineteen years for the venerable firm of Simons and Lapham, and thence with LS3P Associates, Ltd. He has served for nine years on the City’s Board of Architectural Review, and currently on the Board of Drayton Hall, a National Trust property, and that of Redux Contemporary Art Center. His interest in photography began during architecture school where he commenced a career-long investigation into the detail of not only the built environment, but also the empty places wherein lay the castoffs of our disposable culture. He continues to practice architecture while remaining on a first-name basis with most of the area’s junk-yard dogs.