At the RIAS Gallery, 15 Rutland Square, Edinburgh until 1 March This exhibition of photographs by Daisy Dylan
Watson seeks to relay the fundamentals of architectural space and light through the camera lens, writes Brian Edwards. It is less an exhibition of architectural images than photographs which exploit the abstraction of modern design to construct modern art.
The lens is necessarily selective and Daisy Dylan Watson crops her images to extract the maximum of aesthetic pleasure and the minimum of literal meaning. It is often difficult to read the photographs as a particular building; instead there are grey and white planes intersected by shafts of golden sunlight and dark blue shadows. The colours are themselves revealing - blues, ochres and creams, not unlike an early Cezanne or late Paul Klee.
In the process the images reveal something which more heroic photographers (such as Henk Snoek) tended to deny: the sensory pleasure of materials brought together in different types of light and communicated through colour.
Architecture is seen as a game played in light - particularly the low-angled light of Scotland. It is the 'essence of space'communicated by light and relayed via the abstraction of modern construction. For this is an exhibition of planes, triangles, and diaphanous sheets of colour - if only architecture was so sublime or so simple.
Since all of them images are square and of equal size, it is tempting to see them as an installation. Mounted slightly free of the wall, they float in space, adding to their dream-like quality. It is only when you spot a door handle that the blissful narrative is broken.
Brian Edwards is a professor at Edinburgh College of Art, Heriot-Watt University