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The Mud
Images and Commentary
By Michael E. Patnode
Introduction
The “MUD” project began several months after my son Albert J. Patnode was born. A.J. came in to my life to change every thing I understand about life. born Dec. 17, 1998 at 36 weeks gestation. He weighed 3.7lbs. He is a kid of special needs. He was born with broken femurs although he was born by cecearian. He has scoliosis of the back. His legs do not move and his right arm is flaccid, the left arm has limited range of motion. He eats by a gastronomy tube in his tummy and cant swallow. He has a tracheostimy in his neck to breath threw CPAP, a ventilation device although AJ breathes on his own, this gives him a fuller breath so he can maintain his oxygen saturation. He’s extremely nearsighted and what he truly sees we just don’t really know. We have 16 hours of nursing care a day to help us with his many cares. AJ is a wonderful inspiration to my wife and I and we are very honored and thankful to be his parents.
It was on a spring night 1999 that I was pawing over some old zip disks to see if I could find unusual looking images to entertain and stimulate my young sons mind. I rediscovered this image file of the old dried mud bed. During college I scanned the original 3x5 photograph at 100 DPI. At that time was all I needed but consequently; I never did use it in a project. Its data stayed on the zip disk until that spring night. I thought it might make a nice visual picture for A.J. to investigate. I began to play with it by adjusting the color and contrast and after some time, I flipped the image over in a mirror reflection of it’s self, I saw for the first time more than textures. I started to flip-flop the image over and over on itself like a kaleidoscope. I began to see more interesting looking shapes, patterns and faces, jump out at me. I didn’t really think too much of it. I’ve seen lots of kaleidoscope images before. Other than something fun to hang on my little sons mobile it was not something I thought I would continue working with.
Strangely a few days later a college friend of mine Susan Spong a photographer wanted me to show some recent work of mine at S.P.E.- the society for photographic education North West conference in Bellingham Washington. I told her I hadn’t been making any serious photographs or art since my son’s birth. She told me to get busy and make some because she was signing me up to be a guest speaker. I would be part of a panel of alumni students from Central Washington University. She was determined not to let me back out. I only had a few weeks to be ready for the conference. I decided to continue to explore with this mud image. As I did I found I could make a few more pieces before the conference. I only showed four mud images and my thesis project from 1998. To my pleasant surprise many of the people I talked to really enjoyed what they could see in the images. One of my professors, John Agars who was there enjoyed it so much he suggested that, I should make an entire show of this work. Although I knew deep inside myself that at the low DPI resolution the work wouldn’t be able to become large prints as I would have like to have. The worst part was that somehow over the years I had lost the original negatives. I knew I could not restart this project. I decided to work with what I had and consider the work to be about small images and then see where it would take me. I also remembered that the photographer Jerry Uelsmann once said at a conference I had attended. “That many artists never study one image long enough”.
I started having all sorts of interesting dreams and fantasies about what this new mud imagery could be. The work kept pulling me in further to a different kind of world. I began to wonder how many things could come from this one image? I continually kept getting the feeling of carved stone from an ancient time or futuristic alien world. Some of what I’ve developed seems familiar although, most of the imagery is oddly unique and the possibilities are entirely open-ended in each image. Every time that I look at one of the mud images I find new faces, shapes and elements. I have never seen before and this has given me the drive to make more. Sometimes I have felt like someone combing a beach to find interesting sticks rocks and shells.
Some shapes became the framework to hold other more complex images into place. Those images would be made from many layers piled upon each other that eventually became. (Depending on how close or faraway I would get to the image). Objects or faces. Most of the images have images inside images inside images and so on. Some days I have thought maybe I was building the world’s biggest Rorschach inkblot tests. Often I would forget where I was working at in the image itself, if I would put something away and not get back to it for a length of time. I decided to make more images after my initial first four. I gave myself a few small but flexible rules to follow. I thought working in a cautious and conservative way by planning to only use what I could find confined within the original mud image. I would build a new image from only this one palate and no other. I have pasted pieces and parts I liked into a given place. I then would erase parts to revel hidden things that would then be come the new part or image. At one point or another I decided that letting a little bit of foreign color sneak into some of the images might be okay if I only used it minimally. This can be seen in a stranger’s relic, commitment to vision, white moth, and the Wall.
I hope that my son A.J. has enjoyed viewing my mud manipulation images. I also hope that others can find great curiosity, fantasy, enjoyment and a small escaped from reality from my collection of mud.
In this collection of artwork I have been making new altered images from one parent photograph of a dried mud bed. It has become the pallet in which I have explored and manipulated over 40 images into a new vision of my own unique tapestry. To manipulate the images I have used Adobe Photoshop 4.0 On a Macintosh Performa Power PC 6400/200. my old Macintosh. 2.5 GIG and 100 MG of Ram. so small unlike my new Mac.
I originally photographed the mud in 1988 on the border of Arizona and New Mexico from an Indian Cliff dwelling site.
All rights reserved. No part of this publication may be reproduced or used in any form or by any means-electronic or photocopying without written permission from Michael Patnode
For information and questions write to me at Flickrmail. thanks so much.
This manipulation incorporates the old style pinup look with a mild posterized effect.
Credit:
Model - raycaster.deviantart.com/art/Holly-Pin-up-4-85189237
Sober now, and having the realization that this photo had a different destiny than I had originally thought.
Original photo provided with permission by: *Original photo provided with permission by* :
DimDon
*Used in the Stealing Shadows Manipulate Me Challenge 2 - April 3rd *
www.flickr.com/groups/stealingshadows/discuss/72157604355...
A photo manipulation from the abstract imagination of London & Birmingham Mixed Media artist Callum Joel Richards
instagram.com/callumjoelrichards
This came about after I almost fainted this morning. In the second that I began to slip out of my chair, the idea burned itself on to my mind. The feeling of having no control over your body and your mind being almost free to do what it pleases for those seconds was something I needed to put into an image.
It's been a long time since I did anything like this in photoshop. Woods
Storm King Art Center sculpture.
a.golden, eyewash design. c. 2007
Storm King Art Center is a museum that celebrates the relationship between sculpture and nature. Five hundred acres of landscaped lawns, fields and woodlands provide the site for postwar sculptures by internationally renowned artists. At Storm King, the exhibition space is defined by sky and land. Unencumbered by walls, the subtly created flow of space is punctuated by modern sculpture. The grounds are surrounded by the undulating profiles of the Hudson Highlands, a dramatic panorama integral to the viewing experience. The sculptures are affected by changes in light and weather, so no two visits are the same.
More Info:
HOURS:
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November 16, 2006 - March 31,2007 CLOSED
April 1, 2007 – November 3, 2007 11:00am – 5:30pm
Wednesday thru Sunday
CLOSED Monday and Tuesday
November 4, 2007 – November 15, 2007 11:00am – 5:00pm
Wednesday thru Sunday
CLOSED Monday and Tuesday
Saturdays, May 26, 2007 – September 1, 2007, the grounds will remain open until 8:00pm, regular admission fees apply.
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ADMISSION:
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Adults
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Students (K-12)
Children under 5
Members $10.00
$9.00
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SPECIAL EXHIBITIONS:
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Louise Bourgeois (May 16 - Nov. 15, 2007)
Deborah Masters (June 1 - Nov. 15, 2007)
TOURS
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Docent-Guided "Highlights of the Collection" Tours:
2:00 pm daily, free with admission. Tour length: 45 minutes - 1 hour
Self-Guided Tram Tours:
Trams run daily every half hour beginning at 12 noon. Free with admission. Handicapped accessible. Feel free to disembark, walk around, and re-board at designated points along the way. Acoustiguides are available for rent to enhance your ride (please see description below).
Acoustiguide Tours:
Enjoy a leisurely audio tour at your own pace with commentary from the Chairman & President, Director & Curator, and some of the artists themselves. The units are available for rent in the museum gift shop. Rental fees are $4.00 for members and $5.00 for non-members.
GROUP VISITS:
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Admission is discounted for educational, cultural, and community groups of 15 or more with advance reservations. Tours are included free with admission. To receive reduced admission, reservations must be made at least two weeks in advance and groups are required to arrive together in a bus or van. To make a reservation or for more information please call our Education Secretary at 845-534-3115 x110.
BRING A PICNIC:
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Drink and snack vending machines are available. No other food is sold on the grounds, but please enjoy a picnic in our beautifully landscaped picnic area located adjacent to our north parking area. No cooking is permitted.
RESTAURANTS AND ACCOMODATIONS
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Please click here for a list of nearby facilities.
PUBLIC TRANSPORTATION
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To visit the Art Center via Coach USA (previously Shortline Bus) leaving from Port Authority in New York City please visit their website by clicking here.
TOUCHING OR CLIMBING:
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We ask for your cooperation in protecting our works of art, as well as the safety of our visitors, by not touching or climbing on any sculptures. We understand that these works fascinate visitors and our natural instinct is to touch the pieces and connect with them. However, even though the sculptures are outdoors and subject to the elements, most people do not realize that even the natural oils in our hands can do irreparable damage to the surfaces of the works. Part of our mission is to preserve the sculptures for future generations and request your cooperation.
PHOTOGRAPHY AND VIDEO FILMING:
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Both are permitted outdoors for private use only. NO commercial photography. Photos taken at the Art Center are not to be published for any purpose this includes the internet.
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Only trained guide and service animals are permitted on the grounds. No pets allowed.
Please remember that the Storm King Art Center is beautiful in all weather conditions. Sculptures have different charms when seen in bright sunlight, in the soft light of a cloudy day, or even in the changing light of a slight rain. Every weather condition gives a different character to the works and adds new dimension to the outdoor visual experience.
sx70 manipulation. I love this sign, words of encouragement, and the fence from this angle blocks out the corner of the companies logo.
anywho, I am now in school. I feel like a polar bear in Mexico. I have been on spring break for 10 years, not to mention from an early age I realized I didn't like school, so I learned to get by with as little effort as possible. So this is my first time in school where I give a shit about it. Going to try and get my BFA in photography. So I guess things are looking better, or at least different for me.
All these digital pictures me are of my work on Photoshop program .
Are free for personal use only, and non-commercial.
Caution : Do not remove or add any Xi to my digital photos,When you use my photos in web sites on the Internet written should (by mrm).
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© All rights reserved . M.R.M
Original Image of and by Marina Avram Maksimovic used with kind permission.
This picture is not to be used without my written permission.
I don't like flashy awards, since they're mostly given because of an obligation to stupid group rules. If you got something to say, say it in your own words and not by copying and pasting. I don't follow such rules, so if you have the sweaper running, don't even bother to invite me please. As of now the flashy awards will be removed, no offence!
never been a great photoshop user, but a friend of mine asked me to do some manipulations, so here is the result... i guess it's quite nice =D
comments and suggestions are welcome!
enjoy!