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Looking Out
Martin Beek:
The paintings, drawings and digital works that form my contribution to this exhibition result from my residency at Camp Walden, Michigan during this summer. With the exception of the Simon’s Wood series of iPad drawings (no. 14), all the work was conceived, painted and drawn in the USA. It has come from a relatively small area of woodland no more than one hundred metres from my cabin studio.
In 2013 I exhibited my ‘plein air’ oils of rural locations in Ipsden and Longworth in a show called ‘The Pace of Nature’. These smaller paintings were a direct response to places that I had come to know well. Each work reflected the changing weather conditions that characterise the British climate; they were about the immediate moment. I did not retouch any of them in the studio.
In Looking Out my approach has slightly altered in that, whilst each work results from many hours’ direct work outside, certain passages and responses to the forest were repainted or reworked under studio conditions as a result of further consideration. This series was also painted as a body of work with several being developed simultaneously, rather than each being a record of a particular day.
Possibly the most difficult thing to do as a painter is not to mimic someone else’s paintings or style. I therefore find that my unique choice of location, which has no immediate association with other artists, is a really helpful move as it gives me a clearer sense of vision. Walden fulfils that for me, as it has done for many years.
This is the first time that I have exhibited in the UK a complete series of American works painted in situ. With the opportunity to spend seven or more hours painting each day, without having to travel any distance, I seem to find I can paint more fluently and the sense of involvement is all the deeper. America during the summer months, with its extreme heat and strong light and shadows, injects a kind of excitement into my work that I don’t often achieve in Britain. I find drawing trees both challenging and rewarding, not at all predictable if one is serious about the task. Here in the heart of the forest new opportunities present themselves. I suppose one of the ‘rules’ of modern painting, if such exist, is to think about the surface and not go for illusionistic tropes. So, as with all my work since 2012, I’ve made it quite specific in its intentions, without labouring or overworking. This results in an effort to create a lively surface.
The paintings are considerably larger than the 150 works of ‘The Pace of Nature’ series. The larger scale involves different approaches, and a lot more physical movement in order to judge the effect of distance and overall optical colour mixtures and relationships.
The acrylic paintings (‘Woodnotes’ I–III) were influenced by my iPad drawings, utilising the possibilities of multiple layers of line and overlapping colour. These works pull away from their motif and are a more personal statement about the forest and capture a fleeting sensation. They are characterised by loose areas of random marks against areas of control, held in the geometry created by the pine trees.
Formally, the works stress verticality and height, looking out and upwards, strong contrasts and spatial division. It was also rewarding to make a number of large charcoal drawings (nos. 11–13) to convey strong areas of light and shade.
Each morning began with an iPad drawing, some of which form Walden Suite (no. 2), a response to the daily variations of light and colour. The iPad drawings echo the Simon’s Wood piece (no. 14) which I began in January 2016 and finished just before my June departure for USA.
A shot done a million times but one that I needed to put right! I over processed my original and wanted to make it look like I saw it on the day. Whitby's West Pier Extension with frosty boards and a pretty sky! You're lucky to catch this pier empty in good light, this was just after dawn on a freezing morning. I did toy with changing the lighthouse to the vivid red but thought better of it!
A container ship heads in the direction of a beautiful sunset, leaving San Francisco and the Bay Area until it returns from the high seas.
EXIF....F8....0.6 SECONDS....ISO 100....10MM....CANON EOS 7D + SIGMA 10-20 f/4-5.6 EX DC HSM....SINGHRAY ND3 REVERSE + LEE 0.6H ND GRADS + KOOD ND4
RAW FILE PROCESSED USING DPP AND ELEMENTS 9
© Copyright 2012 STEVE BOOTE, All Rights Reserved
On the Frankland River Western Australia ...... the river was like a mirror the morning of this display.
A guard dog takes some time out as his owner pops into a cafe for some refreshment - Woodstock Cape Town.
This is a photo I took on my last night in Dubai, during the trip I took for my birthday this past February. Gorgeous to say the least.
I can always rely on my trusty tilt shift to capture the mood of a place and time.
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I am interested in experimenting (or getting addicted maybe) to this out of focus photography. It is obviously a bit difficult to not go into the abstract, as I have done here I think. However it is a start and it is also something which appeals to the shaky hands as we get older haha :-). This is actually the corner of our patio, I think the light coming through the boards plays an important part so here we are: photo number 1.
For Monday's Photo Challenge, anything goes. This is the last in the Baker Hotel series. Who knows what mysteries might still be found in this haunted hotel located in Mineral Wells, TX. To see more of the Photo Challenges and Thursday Retreads, check out this link...
Theme: Breaking the Rules
1st rule: get your subject in focus
This wasn't the location I had planned for this idea, but thought I'd better post something before I fall further behind
SP Caliente, 3:10:73; SD39 5322 is in dynamic braking at Caliente, California westbound passing bad-ordered ATSF Alco S2 2380 set out to a spur. Dave Stanley photo ©2022
ex RNAS Lossiemouth based Royal Navy Fairey Gannet AEW.3 XP226/LM A2667 out to grass at RNAS Lee-on-Solent in September 1982
This airframe and the Wessex and Whirlwind helicopters to the right were ex AES (Air Engineering School ) instructional airframes no longer required
Luckily the Gannet survived and is now preserved at Newark's Air Museum
Scanned from a grim Kodak 35mm Transparency
Ok............I have gotten inspired by a few to post a shot....felt in the mood today to do some indoor shooting of a Esperanza flower from our back yard. To hot in this Texas heat to shoot outdoors so brought it in.........hope that you like......this is sooc with the exception of cropping.......have great week.
Exposure
2.2
Aperture
f/6.3
Focal Length
200 mm
ISO Speed
320
No flash............my best friend said "Its all in lighting".............
Flash
No Flash
251
Inspired by Dan Mountford's double-exposure work (amazing artist, check him out!!); although this ended up not being very similar at all.
Back album cover for the upcoming ‘Speechless’ release by Pennan Brae. The album shall consist of instrumental mixes from ‘The Astronot’ film. Further info is available in the profile link.
A family of topiary elephants look quite at home at Brighton Pavilion, part of The survival tour. Anyone got any tips about lens cleaning?
Red Milkweed Beetle resting on a Milkweed plant at Green Spring Gardens in Alexandria, VA.
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