Openings Connecting: February 2012

Sunday, February 26, 2012

falling in love with color

i've fallen in love with rising early on 19 degree mornings

to capture light

and color

like a friend said: a new camera

is like corrected lenses on old glasses.

suddenly seeing more clearly.

perhaps.

but

being in

good company helps.

Thursday, February 16, 2012

when trees talk...

WHEN TREES TALK, LISTEN,

ESPECIALLY DURING THE SILENCE OF WINTER

WHEN
BARE BONES
REVEAL

THEIR SOULS

& YOURS

Tuesday, February 7, 2012

flying toward summer skies

....noting the day, the moment,
the shift of what was the wind
frozen into nature's sculpture.

the pause.
the stretch.
stepping into
personal changes of heart:
:of whim,
:of will.

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.