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Many of Christina Fritsch's most striking photographs are those treating themes of decay and transformation in the natural world. Working in both color and black and white, she seeks out overlooked aspects of the landscape; the crowded regeneration of the forest floor, the writhing undersides of felled trees, the play of light on the surface of a secluded brook. Often taken on rough and unsteady terrain, these pictures are all the more remarkable for the fact that most are hand-held exposures. In the darkroom, Fritsch generally eschews cropping and doctoring, preferring what she has called the "unclothed moment" of a full frame.

Starting in 1990, Fritsch has devoted prodigious creative energy to recording the landscape on and about the Wonalancet River, a small mountain waterway in Tamworth, NH that descends from Mt. Chocorua. Unlike so many landscape photographs which proceed from an expansive overview of the subject similar to that of an "omniscient narrator" in a text, these compositions possess an unusual sense of still, intimate enclosure. Fritsch herself likes to refer to them as, "rooms out of doors," explaining, "I've walked the length of this river more times than I can count. Now, rather than thinking of it as a simple line from point A to point B, I see it as a sequence of linked chambers, each with its own moods, inhabitants and features to be explored." 

Fritsch prefers shooting early in the day, often in wet weather, and the resulting dense, crepuscular color saturation adds to her already ambiguous and discursive approach to what is normally a prosaic, representational idiom. Boston Herald critic Mary Sherman underlined this quality in a recent review, stating of the Wonalancet images, "These lushly colored close-ups of landscapes are stunning portrayals of texture pushed to almost abstract extremes."  More recently, Fritsch has turned her attention to the creation of striking, large-scale images illustrating the conflict/interaction between the built and natural environments as observed in parks and streetscapes in and around the city of Boston.

Fritsch’s work has been widely exhibited and collected.  She is currently represented by the Genovese/Sullivan Gallery, Boston MA. 

 

Exhibitions & Collections
Group Exhibitions
2003 Boston Athenaeum, Boston MA, Millenial Boston – 15 Artists View the City
2000 Mass. Department of Environmental Protection, Boston MA
1998 Forest Hills Chapel, Boston MA, Juried Show, J.P. Open Studios
1996 Genovese/Sullivan Gallery, Boston MA
1995 Habitat Foundation, Belmont MA
1993 New Bedford Public Library, New Bedford MA, Annual Juried Photography Exhibition, sponsored by the Polaroid Foundation
1993 Fidelity Investments, Boston MA
One Person Exhibitions
2001 Mass. Dept. of Environmental Protection, Boston MA
2000 Genovese/Sullivan Gallery, Boston MA
1994 South Shore Art Center, Cohasset MA
1993 Genovese/Sullivan Gallery, Boston MA
1993 Gallery at Coell’s, Boston MA
1992 Daratech, Inc., Cambridge MA
1992 Gallery 2200, Cambridge MA
1991 Harvard University, Cambridge MA
1991 Earthwatch Institute, Watertown MA
1990 F.P.C. Open Studies, Boston MA
1990 Pearl St. Gallery, Cambridge, MA
1990 Emmigrant Savings Bank, N.Y.C. NY
1989 Emmigrant Savings Bank, N.Y.C. NY
1989 Thompson Gallery, Boston MA
 
 
Collections
  The Boston Athenaeum, Boston MA
  The Boston Public Library, Boston MA
  Fidelity Investments, Boston MA
  Franklin Research, Boston MA
  Weiss, Buell & Bell, N.Y.C. NY
  Jonathan Fairbanks, Westwood MA
  Steven Coren, Boston MA
  Jennifer Mumford, Cambridge MA
  Erica Bell & Gail Murray, Brooklyn NY
  Frank Morris, Brookline MA
  Isabelle Jancourtz, Weston MA
  Stephen & Lavinia Demos, Brookline MA
  Gerry and Elizabeth O’Conner, Boston, MA
  Harlen Welsh, Boston MA
  Jeff Chester, Boca Raton FL
  Kait Campbell Hilliard, Van Nuyes CA
 
Bibliography
  Mary Sherman, “Galleries Open New Season Quietly, But With Purpose”, Boston Herald, October 1, 2000
   

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