In Will Roger Peterson's vibrantly painterly series, each bloom is set against a black background. This dramatic and intimate group of photos offers a richly sumptuous view of natural succulence, the lens focusing on the inner places of the plant, the stamen, rounded curves of tropical petals, and a fecund explosion of color. The pageantry of beauty has a choreographed feel, captured in movement and light. The way of working is an admixture of the ripe desert flowers of Georgia O’Keefe, the majestic work of Ansel Adams and the enticing studies of Robert Maplethorpe.
In this series of astonishing aerial photographs of the desert and its various majestic natural wonders, from expanses of sand to mountaintops illuminated by the bluest of skies, Peterson captures a moment of wonder, the cities like calligraphic sketching, forming semi circles, and reminding one of all typography letters spread out like a Zen garden. Sill other photos fluctuate between otherworldly moments of fog, sfumato and clarity, a dance of beauty across the landscape. The desert is a place that when you stand in the middle seems that it has no beginning or end. Still other views seem fogged by sunlight, a sort of veiling. These misty pictures have a quiet magnetism, pushing and pulling the viewer through the clouds allowing one to feel as if in flight. The aerial view is a unique perspective. We are able to see the great land’s edges, furrows, and peaks. At once, the viewer is above this monumental place, the Nevada desert but is also made aware of this place’s formidable power, and awe-inspiring allure. Perhaps for a moment, we can be reminded of the rather foolhardy impulse of American settlers to conquer this vast and dry space, its power of erasure and remaking, deadly and magical. For his part, Peterson has long been committed to conservation efforts for the preservation of the Black Rock Desert, and is Vice President of Friends of Black Rock/ High Rock.
The aerial photograph is featured in the touring exhibition, Home Means Nevada, and is sponsored by the National Parks Conseration Association.
Will Roger Peterson’s early black and white underwater photographs of the sea show a secret life of creatures, intricate coral formations, lit from above, each scene quietly moving with the water. This group of works highlights Peterson’s way with negative space and focus, allowing oceanic movement to define subject matter, pattern, and rhythm. Looking into this underwater world, one almost hears the echo sound of the musical sea.
Erotic, ghostly, and engaging, Peterson’s photos function as a metaphor for scientific and imaginary tradition of the analytic excavation of the human spirit. The photos capture his muse, Crimson Rose. The artist’s relationship with Crimson Rose is often cited as an important catalyst for both personal and artistic transformation.
For centuries, the artistry of dance has had a hold over men and women alike. Skill, ornamentation, a beguiling trickery of moves all function to charm the audience. Will Roger Peterson’s motion photographs capture the essence of subject. The artist skillfully merges dance with the mystery of the nineteenth century Eadweard Muybridge’s photographic studies of movement. Using modes often associated with surrealist photography, Peterson inverts proportion, space, and perspective creating an enthralling sense of discovery. Using motion effect including one-second exposure, strobe, and spotlights on the moving subjects, he creates a dialogue about codified definitions of erotica, fine art, and pornography. The spellbinding photographs emerge as a convergence between all three, suggestively fluctuating between a sense of the bacchanal, of the boudoir and the artistic.
The concept of anima and animus suggest that both men and women are in fact psychologically androgynous, containing aspects of both the feminine and masculine character. The role of the anima as imaginative and seductive feminine side of as it exists in the male unconscious. Conversely, the animus is understood as the willful and visionary masculine force, residing in the female unconscious. These perceptions are informed by an unconscious idea of female and male archetypes that are captured through the lens of Will Roger Peterson.
Will Roger Peterson’s erotic dance photographic series Amans depicts an alluring choreography in which longing, ecstasy, and form collide, intertwine and become one. Building on historic traditions of depicting the dance of seduction, the images reveal alluring glimpses of the moment of desire, seduction, and play. One is reminded of the early 20th century work of Franz von Stuck and Odilon Redon, particularly the paintings of Salome and the ultimate model of erotic performance --The Dance of the Seven Veils.
In Peterson’s contemporary work, desire is two-fold – both the female and male dancer are expressive of lust, volition and sexual possession. The pale gossamer tones of Peterson’s photographs suggest a constant rhythm of concealment and revealing. Explicit nudity is artfully combined with shadowy movement, filaments of memory, and seduction gracing each frame.
The element of performance is also key to appreciating the enigmatic rawness of these pictures, as is the equity of feminine and male sexuality. Indeed, the appeal of these unique photos, at least in part lies in the expression of both partner’s sensual experience, which in turn translates to a unique capturing of that transient moment of sexual union. The enduring canon of the erotic dance transcends history and culture, and continues to evolve as an expression of seduction, beauty, desire and the pure and absolute delight of sex.