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Stacey
Cramp's "Robinson
Woods" is a dreamy,
atmospheric haze a la Sally Mann.
—The
Washington Post, June 15, 2005
The
contrast between Stacey Cramp's photography on and off the job couldn't
be greater: By day, she photographs Washington movers and shakers
for Legal Times and its lobbying spinoff, Influence.
But on her own time, the Long Island-born former competitive
athlete eschews portraits altogether, choosing instead to
photograph landscapes —usually stark, mostly timeless, and always in black and white.
Though she's only 31, Cramp's aesthetic harks back—pleasantly,
in this hyperkinetic age—to the work of such straight-ahead forebears
as Paul Strand and Edward Weston. Not all of the 19 images currently
on view at the Luna Grill & Diner are equally good, but
many of her better images are compelling. Cramp has a special
talent
for finding
interesting subjects shrouded by moody fogs, such as Four
Trees (taken in Dutchess County, N.Y.) and Three Trees (in
Bethesda,
Md.). White
Hollow Fog, photographed in Sharon, Conn., offers a twist,
adding a tantalizing touch of sunlight to a misty backdrop.
Cramp also
has
a keen eye for empty rural settings, such as the old barns
and porches of Etlan, Va., as well as far more heavily trafficked
areas, such
as the one shown in Pismo Beach Footsteps, in which geometrical
patterns of sunlight and footsteps intersect under a boardwalk.
Cramp has too
varied a portfolio to call her style well established, but
her
offerings so far are impressive indeed.
—Washington City Paper, July 27, 2001
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