Well-kept lawns, derelict coats, forgotten houses, trees whose foliage defy gravity and order; a collection of fetish objects full of illusory promises of wealth and prosperity. An archive of things/scenes, a daily portrait of the typical American middle class social landscape. In “Nothing’s coming soon” Clay Maxwell Jordan builds a narrative in which the description of the American social landscape-territory is suspended between dense representations, charged with action, and the complete absence of events. Like a sculptor, whose work appears tense in a balance between full and empty, Clay Maxwell Jordan describes the world through the contrast between images capable of different speeds.
The everyday life treated by Jordan is evocative. Looking at the photograph of a dog jumping into the illuminated space, observing the childish smudged writings of a crumpled sheet left on the concrete or the thick fog that cuts the light between the shrubs hidden in a back garden of a house, the authour proves to be able of weaving a narrative for which the ability to identify becomes the way to experience the story itself. The images, (sometimes taken with the help of the film), his subjects perfectly outlined by the light and the chromatic combinations permeate the sight of a sincere and brutal realism at the same time. Violent and cheeky, proud in his range of distinct colors, Jordan impresses the immobility of waiting in gestures, making use of a “stream of consciousness” that takes him from one subject to another.