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Jon Malis, who teaches photography at Loyola University in Baltimore, turned the camera around to spotlight the light fixtures that make his work possible. Each ended up with a mounted series of images featuring circular forms, balancing just the right amount of repetition and variation. Long’s images in Lunar Daylight deftly capture geologic formations on the moon’s surface (long a fascination for photographers), particularly the image of a full moon mounted in a lightbox. But the most intriguing character in Long’s work is the void of outer space, which shows up in surprising hues such as lavender, eggshell blue, and burnt ochre. Malis’ images offer a series of largely circular forms that, while less dramatic than Earth’s moon, focus the eye on an enigmatic source of light. (The title of Malis’ project—The Hand of God, which comes from darkroom lingo for heavy manipulation of light—extends the heavenly metaphor.) Malis’ in-your-face fixtures share an unsettling vibe, reflective of lamps in an interrogation room.

The Julio Gallery recently posted a recording of Jon’s gallery talk to coincide with his show, Invisible Structures, on view now at the Julio Fine Arts Gallery @ Loyola University Maryland.

Jon’s Untitled Sunspots were recently featured as part of The Unknowable Present’s exhibition and documentation of artists working with, and reinventing their practices, during the early days of COVID.

Captured Light: Current Photographic Processes, currently on view at BlackRock Center for the Arts in Germantown, MD, and featuring work from Hand of God, was recently reviewed in the Washington Post by Mark Jenkins

Jon was featured in Loyola’s “Encountering The Mission” campaign, where he discusses how his students use the foundations of photography and visual arts to tell the stories of Baltimore and enact positive social change in the world