To see the above photos in more details, click on the image above, to read about them click below
Top Image
“Double Abstract Ia”
The second image is a portal, which performs the same role as Kafka and Magritte’s fascination with doors as a route to an alternative reality. Both images are intended to be purely abstract. Although I concede some biomorphic or metamorphic elements which probably stem from the original sculpture, on the banks of Lake Bled, Slovenia, shot on the 23rd September. The purpose is to be an object of contemplation
Other Images
“The Eyes Have It”
This was inspired by a sculpture at this year’s Royal Academy Summer Exhibition of a figure with two sets of eyes and two mouths
Intentionally disturbing, disorientating and arrestingly fun for this reason
Did reasonably well in competition at the Amersham Photographic Society on the 10th November
“The Empty Mask”
Homage to René Magritte; behind every image there is another image. This composite, supposedly a structure in the corner of my study, references recurring themes in my Magritte inspired work
As with Magritte’s original, the implication is that each images contributes and combines with others to convey meaning
“Magritte’s Threshold of Liberty”
The key idea is liberty blocked by representations. As Magritte said, “we do not encounter reality directly, we encounter it through inherited images.” The panels show us how to think feel and desire
As with his pipe image, The Treachery of Images, this picture prompts the viewer to question what they are seeing
Magritte foresaw a world where liberation is promised through images and endlessly deferred by them
The canon, as a crude instrument of destruction, suggests that destroying these images might be just as dangerous as fully believing in them
Magritte’s painting was made in 1930, between the world wars and as the surrealist movement was aligning itself with communism in the face of the rising tide of European fascism. However, Magritte was distrustful of revolutionary politics which aim to destroy the old world order. Perhaps this is why the canon has not fired
“Tomlin Gorge Composite”
Captures, in one image, many aspects of the Tomlin Gorge, near Lake Bled, Slovenia, shot on the 22nd September. Inspired by the painting seen at the local art gallery in Piran, by Monika Slemc Klavzar (seen on the 25th September)
“Contra Jour on 23rd Street”
Shot in New York on 6th November
“Zombie XVII”
Shot on the Zombie walk through central London on 11th October
Lublin Castle (after Herbert Bayer)
“Destruction I”
The first of a series of bright and cheerful images looking at partially destroyed buildings on the Slough Trading Estate
“Gilded Blavatnik Staircase”
Reprinting and gilding of an earlier image where the tops of sections of the wall looked as though they were gold and silver. I like the gilding, but when I entered it in competition at the Amersham Photographic Society on the 8th December, the judge didn’t feel that it added anything
New Artists
10th September: Scarlet Hooft Graafland – Surrealist Photographer – Stages her images and shoots analog
6th November: Lorna Simpson, contemporary photographer
13th November: Contemporary painters represented by London galleries
- Christopher Wool – Gagosian
- Eva Helene Pade – Thaddaeus Ropac
17th November: Martin Addison FRPS – creative photographer
Notes:
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