As I’ve said before, It’s a matter of doing things indoors while waiting out the season.
A few tentative results have come up in the interim. One is a bundle of gender symbols composed of walnut, mahogany and oak pieces that I’ve had around since I dressed as a younger man. The other is a serendipitous product made up of mason’s lath, a basic building material that I ran across at the hardware store.
These pieces are intertwined one circle through another to form a closed loop. Again, this is changeable as the mutual relations of the pieces depend upon which individual is picked up or hung on the wall. Makes me think of a story whose narrative, and the outcome of which, would depend upon a given word or paragraph being chosen in a programmed context. Continue reading Quick Update
‘The right aspect of a web page has a stronger impact on our mind than the left aspect’ is a notion adopted by the advertising world, as I recently learned from one of Steve’s comments.This made me look at the real estate on the web.
For safety, I recently switched to gmail because I lost all my archived email from my apple mail box after innocently agreeing to update the mail box.
Let us look at one of my gmail threads:
Continue reading Real Estate on the Web
I’ve just returned from a trip to the Colorado Plateau, my third since getting my camera. The canyon and mesa landscape is amazing, but most of my interest lately has centered around the ancient remains of human habitation, and their relationship to the landscape. I’ve focused on the small settlements and structures, and haven’t even been to larger sites like Mesa Verde in many years. My reasons: the small ruins are not on maps, there are no crowds, and the hiking and searching for them is a large part of the enjoyment.
Continue reading Take three
Recently I visited, twice, the Portland Art Museum’s current exhibit: The Dancers, featuring art by Degas, Forain, and Toulouse-Lautrec. Both times I was struck by the marvel of organization that the curators had achieved.
The exhibit begins with an overview — art by the three men — and then proceeds to explore each individually, moving from Degas to Forain to Toulouse-Lautrec. Degas is first, and of course, his dancers are superb. Beside them, in the overview, Forain’s painting of a dancer seems a much lesser image, although the subject is somewhat more personalized. And Toulouse-Lautrec work seems more about shape than about a subject matter — at least in the initial exhibiting area.
Continue reading Presentations
Francis Bacon wrote: “There is no excellent beauty that hath not some strangeness in the proportion.” Just recently, by one of those common coincidences, I’ve seen this idea compellingly expressed in different contexts, though both related to art. One is the passage below from a Laurie Fendrich interview, which I had occasion to quote in a comment elsewhere.
The beauty in abstraction comes when abstract painters create marks, shapes, forms, and colors that tap into unseen but universal, psychologically beautiful forms and shapes. The marks and colors, since they range so widely in painting, bring to abstract paintings the poignancy of the individuality of each human being. I said I’m almost a complete Platonist, but I’m not a complete Platonist. I think deviation, or falling away from perfect form, is what makes something profoundly beautiful. Perfect beauty is different from profound beauty; the latter is always partly tragic and has something wrong with it, always, and without exception. The “something wrong” part is the handedness, or the individual way a painter paints, which points to the fleetingness of our lives. But it’s really simpler—beauty either is or isn’t, once a painting is done. If it knocks the socks off someone who sees it, and that someone is a deep and sensitive person, that’s the test. Period.
Continue reading Imperfection
Posted by Jay
March 15, 2008 6:43 pm
Steve wears out skis in pursuit of his prey and I hardly leave the pavement. These are record shots, essentially, but they have a certain something.
The foreground twigs are a web cast upon the ice. Continue reading Meanwhile, Back At The Falls
Posted by Jay
March 14, 2008 7:02 pm
Below is a sketch for a plain and simple red circular object that I plan to make when the weather improves. My ambition is that it will hang in a state of minimalist implacability.
Why do I plan to do this? It has been on my mind for awhile and represents my usual mixture of ambition and sloth. Also it is in some respects a response to recent discussions of “perfection” and “beauty”. I’m looking to make something that is ambiguous in reference to either term.
How so? A circle is the simplest of shapes and admits to no variation except the extend of its radius. As a geometrical figure with infinite degrees of symmetry it is perfect. As for beauty, the usual comparisons of more or less, better or worse that inform the word do not apply - there are no better circles. Moreover, one can make a circular object quite simply and with a high degree of uniformity thus bypassing most issues of facture.
The chosen color refers to conventions surrounding love and pain which both tend to employ a blood red. This started out as a pie chart with a dividing line, but a deepening realization of the inextricable commingling of both sensations in the human condition made the line superfluous. I find no comparative value in this choice as the red simply suits the subject.
So there it is: The Ratio Of Love And Pain. How would you propose to critique it?
Natural black and white minimalism as well. To a certain extent, photographers choose (or are chosen by) their style when they choose their subject. Of course, the way of framing the subject plays an essential role. But in landscape photographs larger than minute details, it’s hard to find an uncluttered field of view. Winter simplifies.
Since I seem to have a natural inclination toward abstraction, you can well imagine I was delighted to find these snow forms in the wandering branches where the young Gallatin River is still figuring out where it belongs. I was also delighted to be on a pair of broad back country skis, a rental substitute for my 15-year old kit that had finally broken multiple places in every component, to the point it really was not usable even by an anti-gear guy like myself. The new skis allowed me to move easily along and among these streams, despite the deep, soft snow. I would gladly have spent all day there, had I been free.
Continue reading Natural abstracts
At the request (advice/direction) of my oil painting instructor, Jef Gunn, I have gone out on the streets of Portland to paint. Luckily the weather has been relatively decent, although cold if one is catching morning shadows. But the experience has put me in the midst of the community, and a grand experience it has been.
I am discovering that one of the most fulfilling aspects of painting is having the casual onlooker weigh in, discuss the weather, make silly comments or just say “hi.” I didn’t realize until the Basin experience how much having a bit of interaction with the community could mean to me. The Portland pleine aire work that I’ve been doing verifies that social contact enhances the pleasures for me of slapping color on board, smooshing substances around until they come to mean something, and personal ruminations about the view.
Continue reading A City Drift — Painting without Purpose
Seems like everybody is making a book these days. Lower prices and improvements in quality have made publish-on-demand an intriguing proposition. Reviews are mixed, but I’ve reached the point where I’m interested in giving it a try. Since I tend to work in projects, there are several bodies of work that are candidates for books. I’ve decided to look first at the smallish number of images in the set I’ve called Winter Water, some of which have been placed on my not up to date web site, or discussed here and there on A&P.
A book is necessarily presented as a linear sequence of pages, though a reader (is it still a reader if there are only photographs?) may not follow that order. Nevertheless, assuming one image per page for maximum resolution, it’s an interesting question to consider what sequence might work best. It’s akin to hanging pictures in an exhibit. As I am neither illustrating a narrative nor providing a guide to Pine Creek Falls in Paradise Valley in late November, I am not bound by the order in which the photographs were made or the physical layout of the falls. Considerations include interesting pictorial relationships, pacing, and the overall impression desired. None of these is at all well-defined, and I come up with a different order every time I sit down to it. I make no claims for the latest version shown below; in fact, I’m asking for your help.
Continue reading Sequencing images
