Ryan Szulc’s photographs in Colour of Shadow represent an inquiry into the landscape in half-light. They render witness to the terrain’s interactions with shadow’s pale glow—moments that easily collapse delineations over the real and imagined, and the uncertainties/beliefs that support those common distinctions. The images document nuanced intersections of light and dark. A place where new details emerge and different ways of seeing can be experienced.  

Colour is Szulc’s way of mark making. His production techniques apply a subtle chromatic analysis to yield connected stories. Tone gradations used in the document function as a legend to punctuate sections of the story, to help guide experiences of the dark light intersections. The work marks 'place', as he shows that place narratives are not necessary to have a tactile/visceral experience of 'a place'. 

I look at this work slowly. While observing my associative thoughts, I am watching Szulc see. My viewing pace is like walking attentively; I reflect upon Szulc’s relationship with landscape through my encounter with the page. Thus, the Colour of Shadow evokes in me a push/pull that stands at the crossroads of production  and phenomenology.