This image is the prototype for a new body of work I’m developing for exhibition at Parliment House later in the year. The thing is that the wall where the works will be hung are dark port wine coloured. So I’m thinking the black and white prints in a white matt and black frame are going to look really sombre against the background so I’ve been fooling about with a little colour with these dreamy Infrared landscapes. There will be maybe six or even eight of them all about 20×24 inches then the framing so they will be a decent size when finished….. anyway my question is…. does this muted colour add to the image or detract? should I just stick to the B/W?
I’m preparing a new body of work for exhibiton later in the year and am working out ways to present these images. Yesterday I posted a single image muted landscpe #2 in order to invite some responses to the way I preparing the indivdual images with a very muted colouring and now today I’m posting a pair of images in a way that will replicate the way I want to present them. I’m thinking that I would do either three or four pairs of linked images individually framed but hung together in a series of pairs so that they will sort of look like this one….... Each photograph will be printed at around 20×24 inches and then with the matting and framing I estimate each pair will need about 2 metres of wall space for hanging. Let me know what you all think while I’m open to suggestions with this body of work and I’ll listen to all suggestions….... ta muchly in advance…...
every couple of months I head out of town and go and stay with a dear friend up in the Hunter Valley…... it’s a stunningly beautiful area and I never tire of photographing the landscape there. My friends live on the crest of a hill that rims a series of very dreamy misty valleys and there are many flooded creeks and little lakes to be found all around this lovely place. My favorite place in this chain of valleys is a tiny little hidden lake with a nautral sandstone grotto at its head and a minute island in the centre of it. The lake is only around 20 odd metres in length and the island is only big enough for two trees but it’s beauty is staggering. It’s like an ancient holy place and to just stand by the shoreline is a form of meditation. I have no idea if it has a proper name or not being so small but from the first time I saw it …. I’ve called it Genevieve’s Lake….. and the swirly misty magic of the landscape takes me away into other dimensions…... no perfidious Albian here….. just a faint lingering sense of the Lady of the Lake…...
this is an image of the tiny island that is found in the centre of a minute but magical little lake that is hidden deep inside a misty valley deep with the Hunter Valley. I think of the little lake as Geneviere’s Lake with all it’s connotations of the Authurian stories that filled my head as a child….. the time of Camelot passed into history and coloured the centuries that followed with greatness and with melancholy. Part of the power of the legend was contained in the story of Geneviere and of the Lady of the Lake who keeps the great blade Excalibur safe till it’s time comes again. A bier is a place where a corpse or coffin rests before burial and this perfect little island in it’s setting of staggering natural beauty is the bier for my understanding of the legacy of the story of Geneviere and the Lady of Shallot.
I’m developing a new body of work of an exhibition later in the year and am trying out a few ideas for presenting the works…. a couple of days ago I uploaded muted landscape and asked for feedback and that’s been great…. now I’m looking at a different way of presenting the work… perhaps forget the frames all together and have each of the pairs printed like this at close to mural size on a black background and then suspend them in the gallery…... hmmmm this could all change again tomorrow…... but let me know what you think about losing the white of the border that comes with actual framing….. thanks
Another paired IR landscape for an upcoming show. possibly. I’‘ll make four pairs in all but most likely will only produce two pairs for the exhibition. The first one was this one and the second pair was this one So I’m still fooling about with the final selection and will observe and take note of what people think here…..
It’s been a while since I put up the companion images to this muted landscape #4 , here , here , and here but the series finally came back from the framers and they all got shipped off to Parliment House in Sydney just yesterday. Oh my goodness getting all these done was a bit of an epic ….. and then there was an overbooking at the venue so we’ve all had to wait an extra week to put up our show…... it was all meant to be on the wall on the 4th but now won’t open till next week….... so all the frantic rushing to get it all done in time was all a bit nuts now that I think about it. Anyway after a lot of flaffing about with how best to articulate the images to best advantage I finally printed them myself on to 325 gsm warm toned Fabrizoni finest watercolour paper with my very nice Epson photostylus R1800 printer. Then each pair …. there are four in total…. has been double mounted in a mid grey matt with a glossy black box frame. Each print is A3 in size and the final dimensions of each framed pair is 106.5cms by 53 cms. So only mediumly large in the end. The mid grey tone of the matt reads as mid green in relation to the prints themself and the whole effect is of a very muted but mysterious melancholic beauty…. I’m very pleased with them. So if your in Sydney next week pop into Macquarie Street and have a look…. there are four of these Broken Landscapes and another new doubled work to boot….... Landscape for Piet Mondrian #1 and #2… I’ll post about that set later on
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