Heavenly Creatures are kites, billowing in the air, as observed at festivals in Italy, Denmark, Washington and New Jersey. Sally Gall records the skyward movement of cloth and paper flying machines, fragile objects connected to earth by tenuous strings - and like laundry, a universal human occupation. As in Aerial, these images are transformative, a celebration of color and suggestive abstract form. Both Aerial and Heavenly Creatures continue Sally Gall’s lifetime investigation of the sensual properties of the natural world; light, air, wind, and sky. Abstracted by composition, context, and color, these anthropomorphic photographs suggest sea creatures, constellations and other planetary forces, blooming flowers, microscopic amoebas.
Gall states “…I’m drawn to abstract painters that reference a landscape just by a few strokes of paint…” Indeed, the abstract forms against bright and atmospheric sky evoke Joan Miro, Wassily Kandinsky, Georgia O’Keefe and Howard Hodgkins, among others. Both Aerial and Heavenly Creatures embody Sally Gall’s search for poetry in the everyday, the miraculous in the ordinary, and as Fischl observes “capturing the elusive distractions of fleeting beauty.”