I found out about the closure of Oriel Wrecsam (probably may favourite gallery) that i have such a connection with. It gave me my first chance to grab at the slippy old balloon of the art bubble dream back in 2008 on selection for the Wrecsam Open. But now revitalised and mowing into pastures new its last Hara was Art Vend. The project selected artist to submit 50 pieces of work to go to vending machines placed around Wrecsam over the next few months. The work I submitted took the form of a Digital Protection locked away in the little plastic casual. Alongside this sits the brilliant documentary of the gallery in its closing weeks from https://twitter.com/OrielWresidency This was created by Simon Proffitt more of his work can be seen here A real eye for detail…
Artist in Oriel Gwynedd
Time is flying by with the project over at Oriel Gwynedd, Bangor. You can keep up to speed with the work and what I’m doing here https://tocynnwr.exposure.co I am about to start documenting the closure of the old gallery over the next coming months.
I have an Exhibition coming up from 25 April – 5 July 2015 alongside Susan Williams and Wendy Leah Dawson. I have been documenting the many signs of Tremeirchion for such a small village about 1 square mile with over 30 signs that I have managed to document
I’m also making a return to my third Helfa Gelf this year. I will be once again camped out in Haus Of Helfa, Llandudno after receiving confirmation of my work been selected. Think poems rubber bands and 360 degrees
Ffloc has been selected to work on a 3 week residency as part of connect 2 at Aberystwyth Arts Centre during May which will entail a visually projected element and poetry. This is going to be a massive challenge but great fun. This is to evolve into a bigger project
I had some good thinking time over the Christmas break and this what i come up with. It was filmed above Penmeanmawr quarry in Conwy North Wales. It’s great it has that on top of the world feel
Heres the words from the video
spent like taught timber,
i leave my slumber.
unhappy i repine.
there are many points,
all of which i plunder.
burst the ballyhoo.
in the clearing its dark.
no red brest.
just the longest legs.
branches make me rethink.
evergreen the pine waves.
i know that man in the dark,
i feel safe again he looks out for me.
returning to this warmth.
a strange sensation, i felt like an island.
unknown to where, a week later i see it on the horizon.
out at sea me safe under the tree.
thoughts so clear even the unattainable is changeable.
falling sleepy at last I’m one with me.
Believing in progress does not mean believing that any progress has yet been made.Franz Kafka
Well a belated Happy New Year…
Or is just another step in the right direction. I knew I loved this image before I even took the photograph. Maybe I need to think more along the lines of seeing is believing. I often see what I have done but can’t believe that I did it.
If you look closely at the step you can see me clinging to the bottom step. Looking behind me to see that the tide is not encroaching me in the same way that my mind often does. You don’t see where the steps take you as I know not what awaits me around the corner. Returning to the tide that comes in and goes out. I guess I’m the same I will always take photographs just in different styles some in a high state of mind some in low state of mind either rough or smooth.
I seem to have many directions at the start of the year in front of me to help steady foot my way to the top of the stairs. Yet unlike last year, no clear goals. I have a busy month with an exciting opportunity in Colwyn Bay which is setting itself aims and objectives that can only challenge may vision and ethos for the good, while working in a totally new way. I have my work in the Galleri Open in Caernarfon at the end of this week. I also have some positive Filmic accessions to get excited about. oh and just reward in one area. I feel was disclaimed the attention it deserved by the powers that had more than enough opportunity than to just let it be!
The work of Roberts Adams is iconic in visual or written text. I’m not trying to push my work in the direction of New-typography. The power Adams commands with capturing of large space is very important. It is critical to the way you approach you work. In time I have come to understand this. For example the two churches I was recently on reviewing the situation after. I didn’t attempt to take a picture in the second empty church. Although it been an empty space and the stronger of the two buildings it felt cluttered. Adams use of space was bold covering what some may see a mundane.
The image of the house with all its procession is beautiful in its perfect composition. A plain picture to most we are given various things to read.We have a House, Garden, door, sky, window, shadows, roof, path and grass.The viewer is almost pulled into to tell the story of what is depicted. Your eyes lead up the path to the door into the lady in the living room. However its not a lady it’s a vase perfectly positioned. The viewer is not clear if any human is present inside the house. The reason I picked the image is that the human form gives it a totally different feel. Your focal point is totally different. There is always a clean crisp feel to Adams work. The dark light, which dominates the image gives it a negative feel overall. The viewer dose not feel invited into the house as well as having little knowledge of what is going on inside the house. Is it empty, is it occupied?
This image by Robert Adams offers a lot less in the way of information but what it does offer is critical. In the image, we have the black building, window, lights, paintings, tops of hedges, blurred trees and the roof. The blurred tree tells us the image is taken in low light with a longer exposure. The bright light peering out of the darkness gives the feel of a family environment. Again Adams places the light and pictures perfect on the divides between the windows. Your eyes are pulled into the shot from left to right to the warm glow of the window.
Concluding on the two images that I have looked at shows the relevant signs that life have on an image. It tot tally changes the viewers opinion of the image. The light been on in the house creates a visual syntax of safety in the darkness. The closed door on the house creates a vision of un-welcomness.
Yes its been a while. I feel I might just have found a new driver for my empty space juggernaut. It been off the road for nearly 6 months know. While working on a Project on Monday I got access to one of the place I tried to get in early in the year. The church on Woodlands Rd West in Colwyn Bay. I felt it…
Adding Photography to music is something that really interests me. I was approached by Joel Cockrill to work on a project with my images to his music. I think the music changes the feel of work. What do you think? The work is from three bodies of work. The now demolished car park from Get Carter in Gateshead called Trinity Square. It was designed by Owen Lunder. One of the top designers in the Brutalist movement. My Surrealist Seamless links work and the more recent ‘your last breath’
I recently read John Szarokowski’s 1964 book The Photographers Eye. This was produced to cover M.O.M.A first critically acclaimed photography exhibition, in the book he cover the topics which he sees are the 5 basic principles of a photograph. They are
As you can see from the information the image gives you . She is a cute cat with fine gray fur and eyes that could melt ice burghs. She is always alert never switching off. She can be very placid when she can be bothered with human interaction. The closeness of the image gives the scale human qualities as often used by the likes of William Eggleston
The framing of the image shows that she is in a house lording it up on a chair. The slightly off centre subject in the image gives you a feel of warmth and content maybe sat in front room
I had to be quick and get the cat looking straight into the lens of the camera, had she have been looking away it would have lost some power and honesty it was taken at 1/8 f8 iso 100 flash +2 zoom 50mm
The subject is the key to the image . We are not interested in anything else the image has to offer other than maybe its indoors. Taken from higher vantage point i.e standing; the cat would have looked different. A shot from the side would be distracted by a clock case or the T.v. So on my knees close in at the cats view of things makes us engage with the subject.
These are simple thing you can do every time you take a photo. a simple image can when broken down tell so much. What do you think?
The 1863 the first tube opened in London, the District and circle line. Now it runs like an artery through length and breadth of London. The above Dictionary description describes it well ‘conveying or containing liquids or Gases‘ A smell and special dirt all of it own and a heating system all of it own. Artists have often taken influence in the underground Photographer George Rodger to the Sculpture work of Henry Moore with his cramped twisted torso of blitz sheltering families. I stumbled upon Mark Paulda’s work on Twitter. The collection of his work in London is totally breathtaking. Mark captures the grit and inner beauty of the growl of London. His underground work however for me stands on the merits of it own two feet. You can almost hear The Jam’s Down in a tube station at midnight playing in these images ” the dissident echos of far away voice boarding far away trains”.
The image I have picked to look before you check out his site was a difficult choice. However the relevance of the image was all the square tiles on the wall for me. They made me think about all the information that passes through and around us a we move. Card Transactions emails phone calls… The use of infinity in the images shows the endless struggle of life on the commute. A sense of isolation and tranquility are also captured in the image. It also captures the distortion that can find while sat on the train and thinking ‘oh i can change at this stop’ and 10 mins later you are still walking in the control of the underground…
Many questions are asked in the search for why we photograph, Steven Shore ,Robert Adams, Diane Arbus to name a few. I want to look at Roland Barthesthought process in Camera Lucida “A specific Photograph, in effect, is never distinguished from its referent (from what it represents)” The use of the prop (the clock) changes the feel of the image and how we engage it. Barthes also talks about it being a mathematical impossibility to recreate an image twice.
Following on from yesterdays comments about the truth in an image. I was asked to photograph myself at the 11.11.11@11:11:11 as part of a project. In this image my clock is the cattle skull (please see http://wp.me/pNIdU-jY). This images gives us many answers to the why. All be it not the best image taken we see it was taken for the Binary date. So bar name (me) and location (Mochdre) we has a lot a justification for the capture of this image: date, time, moon cycle & weather A time capsule for that second never to be captured again