Barrington Earle's photographs of barren landscapes known as Park City are an oblique epic, even if that is a contradiction in terms. The photographs re-order several trains of thought to provoke redefinitions of the medium in which they were made, and posses an unusually personal resonance. Like all substantial works of art, they realign surrounding phenomena and establish a new symbolic landscape.

Earle's work evokes a complex iconography of the 21st century and has, in the guise of a forensically neutral statement, actually beautified the phenomena of an urban wasteland. He observes a set of violations set in a microcosm and the photographs resonate with irony, rendered with the exquisiteness with which any trash can could and would be beautified by photography.

These photographs are part of a peculiarly modern visual field. Earle's use of the camera is part of the sensibility of his time.

The artist's discretion and the rigor of his work are surrounded by enthusiasm and respect. Barrington Earle's work symbolizes the highest degree of conscience of a typically American artistic heritage, as well as an act of rebellion which finds a sounding board in our culture, where the strategy of dissensus is the first significant mark of any innovative enterprise. A body of work must overturn, or at least substantially subvert, the legal prescription in force prior to its elaboration, prescriptions which dictate what a work of modern art must be, and which represent for each artist the duty to acknowledge them while accepting them negatively. But at the same time, a work must be a tool to elucidate its context, a metaphor of the specific conditions which were the basis of its creation.