My photogravure, titled "Campsite Quanta" has received an honorable mention, is currently displayed in the online gallery, and will be included in the book from The World Landscape by FIER.
It was part of a competition called "The Romantic Landscape". I believe that they are doing a second edition of the competition, and will publish the winners of both in a book some time this winter (2013/2014).
(update Nov. 26, 2013): use promo code DOUBLEPLAY to get a discount on the book
Showing posts with label landscape. Show all posts
Showing posts with label landscape. Show all posts
Wednesday, June 19, 2013
Wednesday, June 14, 2006
Corciano light
My first semester in grad school was spent in Corciano, Italy.
The light in September is absolutely INCREDIBLE. I lost my mind and all the intended ideas I had, and just surrendered to it. I had been looking for this for a long time.
I always painted at sunset or sunrise, watching the colors erupt from the earth as the sun hit the redorangepink level.
Low sun inthe snow mountains makes a beatiful effect of "alpenglow". In Corciano, there was a similar effect on objects, but not with winter sun. It was with late summer sun that wrapped around everything it touched.
There were a few olive trees that were different from the others. I could not tell if they were dying, or if they were picked too early, or something else all together. In the rising sun they formed a rudimentary cross. The red wall holds back the earth, atop of which rests a monastary. The gray-purple steel lamp post on the left framed the cypress tree, as if it were half of a composition in an altar piece. (notice the gothic arch shape to the lap post) Olive branch, cross, monastary, gothic arch shaped altar piece. It just had to be painted here, in the former Roman Empire. (could the yellow in the back be Elysian fields?)
We had a windy night, a little while before I saw the monastary cross.
Late in the semester, mid Fall, the light had changed. But, it would still shine brilliantly off the water that lay in the fields. It lay in rows, between plowed mounds, and relected the rose sunset, while the ambient light cooly circled everything else.
The light in September is absolutely INCREDIBLE. I lost my mind and all the intended ideas I had, and just surrendered to it. I had been looking for this for a long time.
I always painted at sunset or sunrise, watching the colors erupt from the earth as the sun hit the redorangepink level.
Low sun inthe snow mountains makes a beatiful effect of "alpenglow". In Corciano, there was a similar effect on objects, but not with winter sun. It was with late summer sun that wrapped around everything it touched.
There were a few olive trees that were different from the others. I could not tell if they were dying, or if they were picked too early, or something else all together. In the rising sun they formed a rudimentary cross. The red wall holds back the earth, atop of which rests a monastary. The gray-purple steel lamp post on the left framed the cypress tree, as if it were half of a composition in an altar piece. (notice the gothic arch shape to the lap post) Olive branch, cross, monastary, gothic arch shaped altar piece. It just had to be painted here, in the former Roman Empire. (could the yellow in the back be Elysian fields?)
We had a windy night, a little while before I saw the monastary cross.
Late in the semester, mid Fall, the light had changed. But, it would still shine brilliantly off the water that lay in the fields. It lay in rows, between plowed mounds, and relected the rose sunset, while the ambient light cooly circled everything else.
Friday, April 21, 2006
Fleshy waves?
These are details of the 7 piece, composite painting hanging in the show.....
every show that I've had this past year, someone has seen figures, faces, or other human/organic forms in the more abstract work. this time a student at FDU saw a face in one of the etchings. I saw the flesh tones in these red/orange paintings when I was taking photos.
there must be something to this
I closely relate a body of water to the human body, because feels alive. Moving water pulses, undulates, and has a rhythm that I have seen in many people. Imagine a board surfer duck diving under a crashing wave. Picture young people playing in a small river with rapids, under the hot summer sun; swimming in and out of the currents.
I was tempted to use wax, encaustic, for this project, but I prefer the clearer (and more durable) medium of acrylic. I suppose now I know why wax sculptures are so life-like. The wax mimicks semi-transparency of skin.
What is really curious, fascinating about this subject, is that the more I work on a piece, the more I keep leaning towards a more fleshy combination of colors. It's easy to realize that our bodies are mostly water. Our flesh is mostly water. But that's the simple answer. There is something more of a deep connection to the water; some kind of calling.
every show that I've had this past year, someone has seen figures, faces, or other human/organic forms in the more abstract work. this time a student at FDU saw a face in one of the etchings. I saw the flesh tones in these red/orange paintings when I was taking photos.
there must be something to this
I closely relate a body of water to the human body, because feels alive. Moving water pulses, undulates, and has a rhythm that I have seen in many people. Imagine a board surfer duck diving under a crashing wave. Picture young people playing in a small river with rapids, under the hot summer sun; swimming in and out of the currents.
I was tempted to use wax, encaustic, for this project, but I prefer the clearer (and more durable) medium of acrylic. I suppose now I know why wax sculptures are so life-like. The wax mimicks semi-transparency of skin.
What is really curious, fascinating about this subject, is that the more I work on a piece, the more I keep leaning towards a more fleshy combination of colors. It's easy to realize that our bodies are mostly water. Our flesh is mostly water. But that's the simple answer. There is something more of a deep connection to the water; some kind of calling.
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