Eveningside [The Ice Machine Bundle] Production Still [No. 2] by Daniel Karp, 2021-2022

In Eveningside (2021-2022), Crewdson explores moments of contemplation within the confines of quotidien life, in places of employment, and in moments just outside of those work structures. The figures populating the pictures are sparse, and are often seen through storefront windows, in mirror reflections, or positioned underneath the mundane proscenium found in the midst of their everyday routines: railroad bridges, doorways, porches, the overhanging roofline of a bank teller drive-thru, a dairy bar, a corner market, or a hardware store. Bringing his vantage point closer to the figures, using a heightened range of light and darkness, special effects such as fog, rain, smoke, and haze, and for the first time using his now ubiquitous full production and lighting team in a monochromatic palette, the result is a rich gothic atmosphere, evocative of film noir and classic cinema, but with the capabilities and clarity of the most current technology available in digital photography. Edition: 1 of 1 — THE ICE MACHINE EXT. EVENINGSIDE - PACKAGE STORE - TWILIGHT We are positioned in the parking lot of a package store at sundown. The ground is wet, the air is moist and heavy. The package store, EVENINGSIDE PACKAGE, is housed in a former gas station and garage building. It has a feeling of layers; of history, of paint, of signage, and purpose. In the background, across a diagonal side street, we can see a business called THE GREAT WALL FOOT SPA. There are lights on in the windows. Closer, along the brick wall of the package store's exterior, there is an ICE VENDING MACHINE. A PICKUP TRUCK is stopped beside it, and a MAN has gotten out to buy ice. The truck is still running, and a TEENAGE BOY sits in the back. His knees and face are sIightly dirtied. His ankle is swollen and he is holding it against the pain. The man gazes into the ice machine, which is illuminated from within. His face is cast in a bright white light.