Openings Connecting: ranchos de taos, for caterina

Monday, September 7, 2009

ranchos de taos, for caterina

THIS CHURCH DATES BACK TO 1772 and you can see why it has always been frequently photographed and painted.
the first two shots are of the church's buttesses in the back, my favorite great big chunk of adobes!
there's a regular mudding of the adobes by many, many people to keep those walls all intact. adobe can be washed away, disintegrated by the weather over time, as you can see in the third photo.
as it should be, well cared for and appreciated .... daily!!

2 comments:

UnknownSeptember 8, 2009 at 9:55 AM
Such blue sky .... it looks as if it moves ever so swiftly miles above .... like a deep swift current that is above rather than below.
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ELKSeptember 8, 2009 at 7:10 PM
the color and smoothness of the buildings make me so happy~elk
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FOUR DIRECTIONS/FOUR VISIONS: Two Graces: First showing for me, JUNE 3, 2011

With no directions home, I found Taos in the late 60s. It felt like home immediately. It still does. I know this sentiment is familiar to countless others.

The mountain stopped me in my tracks, and I stayed for several years. Since that time, I circle back annually.

To me, that circle is symbolic of this body of work at Two Graces. This is a time in my life when I've been fortunate enough to experiment with art making. Not surprisingly, I found myself drawn back to the images in the Ektachrome slides that I'd taken in the early 80s of Chaco Canyon, the San Francisco de Asis Church, dusty roads, and the ever changing skies of Northern New Mexico. The spirit of this adobed land lingers in my core and manifests itself within these works.

This past Michigan winter was spent creating enlarged negatives from my thirty year old slides, pulling part of my past into the present via today's tools of scanner and computer. Using traditional silver-gelatin darkroom processes, these resurrected and modified negatives acquired a new life. The majority of these prints are the result of this mediated reincarnation.

The smaller images took me into photographic processes from the mid-1800s. These handmade platinum/palladium prints are created coating vellum, for translucency, with these metal salts and exposing them to ultraviolet light. They are then bathed in the alchemy of the darkroom. The tonal qualities are unique in each print. Finally, 24k gold is layered to the backs of the prints, emanating the warmth, glow, and depth of these beloved places.