In Eveningside (2021-2022), Crewdson explores moments of contemplation within the confines of quotidien life, in places of employment, and in moments just outside of those work structures. The figures populating the pictures are sparse, and are often seen through storefront windows, in mirror reflections, or positioned underneath the mundane proscenium found in the midst of their everyday routines: railroad bridges, doorways, porches, the overhanging roofline of a bank teller drive-thru, a dairy bar, a corner market, or a hardware store. Bringing his vantage point closer to the figures, using a heightened range of light and darkness, special effects such as fog, rain, smoke, and haze, and for the first time using his now ubiquitous full production and lighting team in a monochromatic palette, the result is a rich gothic atmosphere, evocative of film noir and classic cinema, but with the capabilities and clarity of the most current technology available in digital photography.
Edition: 1 of 1
—
MORNINGSIDE HOME FOR WOMEN
EXT. MORNINGSIDE - RESIDENTIAL STREET - TWILIGHT
We are standing at the side of a residential street, peering at the houses as they slope downward toward the horizon. Our gaze is mostly concerned with the left hand side of the street, and most prominently, a house covered in faux brick siding. There is a small, barely-legible shingle hanging on the shabby front porch that reads MORNINGSIDE HOME FOR WOMEN.
A TAXI has pulled up on in front of Morningside Home. A TAXI DRIVER sits despondently in the driver's seat, already thinking about his next pickup. A YOUNG WOMAN stands on the sidewalk, having just gotten out. There are a couple old suitcases placed beside her. She looks up at her new home with a sense of trepidation mixed with resignation.
