I had many reasons for making the journey to England, after 30 years away. Any one of the reasons is a novella, which is why I am thinking of creating a new blog devoted to travel. Where to even begin? Perhaps with the question posed last week by friends who had just returned from Scandinavia and Prague: why England? To which I replied: The Wind in the Willows. That classic children’s book about Mole, Ratty, Badger and Toad and their bucolic life along the river shaped my idea from the age of 6 of what countryside should look like. I was a child of the wide open west, where barbed wire and naked fenceposts divided the fields, you could drown in the murky depths of a horse trough, and a volcanic mountain filled the eastern door of the barn. Our river was a quarter mile down a steep cliff littered with rusted barrels and stalked by coyotes and mountain lions.
My father gave me the Wind in the Willows when I entered 1st grade. I would sit in bed in the farmhouse and run my fingers over the illustrated endpapers, tracing a green quilt of soft hedgerows, a river you could easily row a boat down, a tiny bridge, a weir, and Pan’s Island, where, in Chapter 7, Rat, Mole, (and every susceptible child) could be awed by The Mystery. Page 133 still holds a four leaf clover and the browned paper on which I wrote out Rat’s failed attempt to describe, in words, the wordless presence of god. So yeah, I went to England to find that. It may explain why I could not stop following the swans. (Click on any print image to see details in shop.)
Sources of Inspiration: Hokusai and England
October in the Pacific Northwest is a moody season. The rains have come, and the fugue state of grayness that leads to indoors brooding requires acts of increasing will to resist. Sunday I felt myself on the cusp of succumbing to what the Buddhists aptly call The Third Hindrance of Sloth and Torpor. Seattle’s caffeine economy is built on what may seem like indulgence: yet consumption of caffeine is actually the first step in Spiritual Effort. I dutifully poured three cups of tea and purified my mind.
Once prodded out the door and feeling clouds on my face I came back to life. The innumerable grays of our skies offer a perfect foil for color, and walking through the blur of crimsons, burnt gold and lichens filled me with calm elation. Still facing East after seeing SAM’s Hokusai, I prolonged the spell of the exhibit with a visit to the Japanese Garden. As I walked through the Japanese garden each tree and stone seemed redrawn in ink in isometric perspective, and I half expected my viewfinder to appear with parallelograms drawn across the glass.
When we are barraged daily with thousands of images seen online it is easy to forget the power of an image seen literally on screen, as in a painting on a folding screen of silk, from hundreds of years ago, holding history present with the physicality of thread. My favorite images from the Hokusai prints showed the ghost seepage of aged rice paste and seams where sheets of paper or silk overlapped. Seen close I noticed embossments of cloud forms I had never caught in reproductions, and this evidence of the physical making impressed memory on me as a bodily thing, amplifying the exhibit’s power. [Read more…]
Western Landscape Photography Portfolio
New Directions: Photographs of the Western Landscape
Are there affirmable days or places in our deteriorating world? Are there scenes in life, right now, for which we might conceivably be thankful? Is there a basis for joy or serenity, even if felt only occasionally? Are there grounds now and then for an unironic smile?
– Robert Adams
In October I found myself in the middle of an ocean of grass almost swallowed by basalt. I looked up at the black palisade of stone stacked against sky, a magpie’s wing shadowing the trail ahead, and asked out loud: “Is this a photograph? Should I follow this impulse? Landscape photography isn’t what I really do…..”
There was long pause as my walking companion vanished around a bend. The field caught the slant of afternoon sun like knife blades, each edge of grass etched against stone. The moment seemed to command me to see and record in a way I was not accustomed to – not with the collage artist’s eye for disassemblage, but as a witness to the exact 1/60th of a second in front of me. I raised my camera and started shooting, unsure of why, but thinking maybe I’d figure it out before the sun set.
Although I have been obsessed with cameras and photography for much of my life, I have never considered myself a traditional “photographer.” Rather, I have seen the camera as way to inquire and to be present in place. The images made have always been secondary to the experience that looking through a lens affords. The technology of f-stops and aperture and ASA, the confounding dials with microscopic lines between here and my destination, and the chance, in analog days, of a precious 36 exposures tripping on a sprocket, all seemed to require a full time German in residence, and I am much more Irish. I have always been immune to systems, and I suffer from profound dyslexia when it comes to math. Someone asked me recently if this new series of landscape photographs was made using the “zone system” and I had to check my voluminous and completely disorganized notes – oh yes, that. My process is intuitive, and overlays multiple systems based on the aesthetics of printmaking and drawing.
In making photographic prints I am looking for luminance and iconic form, and a sense in the body of being there. Are there ten shades of gray from white to black – who cares? Does it feel and look like memory and the way the air moved? Can I smell the smoke in the air, or the sage, or hear the sound basalt makes as it cools down between late afternoon and evening?
New Landscapes | Memories of the Farm
At about 5 in the afternoon you sit on the fence and rock your legs against the barn wood and pick splinters out of your knees in between watching the light that angles across the fields. The wind ripples and makes three shades of green light and you sing America the Beautiful without even knowing it is corny. You are nine years old or maybe 10, and braid your hair with horse ribbons. The word ribbon becomes part of your intimate knowing of the world: mane, braid, field, wind….
I have been away for awhile roaming the landscape of the Skagit to create a new series for an upcoming solo show at Perry and Carlson in March. The new work, which I am calling “Industrial Pastorale,” is a very personal evolution of imagery that explores the liminal edge between rural and urban landscape. [Read more…]
LaConner & Whidbey Island Summer Art Finds (Roadtrip!)
Let’s say you kick back for the 4th and check your social media and once again all your friends are posting vineyard photos of the South of France and the rest of them are gloating about having immigrated to Canada. You could be consumed with a terrible envy, or you could do what we did and make a tiny trip up the road and around the Sound and come back sated with beauty right here in the Pacific Northwest. Instead of waiting three hours in a ferry line we started the weekend art tour by skipping up the road to LaConner by way of Conway. The plain, thrilling ungentrified beauty of the Skagit reminded me there is life outside of Crane City and brooding about the hyperventilated cost of a 175 square foot room with a bed. Did I mention those trees in the photo above are French?
Also, there are cats. [Read more…]