Summer of Rain

The Summer of Rain has effected my ability to get out and about taking pictures. Typically I love the rain, but I don’t trust what it will do to my camera. In a typical summer I can usually wander around for what ends up being the equivalent of weeks shooting random things. This year however it seems that there’s been an inordinate amount of rain. I should have probably called this entry –The Year of the Flood– in homage to Margaret Atwood.

The following are the few shots from the last few weeks that Ive taken that I’ve liked. I’ve taken more than this but nothing very compelling. These few images below were taken on my way to work and while I was in Montreal for a work trip.

Construction workers on the facade for the new Thorncliffe Public School. I lied this architecture detail that’s simple, to the point and frugal but effective and sort of fun.

At the end of our street diagonally across from The Farmhouse Tavern. This was once a very poorly organized variety store, and the space –now empty– is quite nice. I’d open a coffee shop/gallery if I had any balls.

In Montreal. Above is some weird little detail I liked amongst a lot of scaffolding. I wasn’t intending this to be anything sinister, I just liked the blue white loop of rope. Below is one of the thousands of beautiful buildings on the edge of Old Montreal getting a bit of a facelift. I could spend a week in Montreal shooting.

Somewhere on Bloor just West of Dundas West. I love the extension cord.

 

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Colour Theory

Colour theory is based on a lot of things. Most notably the work of two twentieth century artist/theorists and their books. I’ve had copies of both Joseph Albers – The Interaction of Color  and Johannes Itten -The Art of Color on our shelves for a long a time. Note: I know how to spell colour, but I guess these are both American publications.

I also love painting, in specific the work of the 50′s and 60′s abstract expressionists that might be considered colourfield artists including; Mark Rothko, Gene Davis, Barnett Newman, Jack Bush, Guido Molinari, Frank Stella, Kenneth Noland, Robert Motherwell, and Clyfford Still. I’m particular as well to the contemporary painters that could be linked –albeit maybe just aesthetically–to that earlier movement like; Elizabeth McIntosh, Yves GaucherClaude Tousignant, and others.

A large part of Colour Theory is about Photoshop and photographic manipulation. These images are all taken “in camera”. I built small colour panels, and I support these on wooden stick in the air in front of the camera and shoot.

There’s a bit of Photoshop work done after the fact to remove the panel supports but I could have created these images within Photoshop with no camera work at all. In this way the work links back to aspects of my durational performance pieces in that I’m consciously finding a more difficult and labour intensive way to create something that could be easily mistaken for simple graphic manipulation.

It’s also about the desire to paint with the camera. I think this is a logical place for my work to move given the nature of the my traditional photographic practice of the last ten years. In a way this work is a transition from me “taking photographs” to me “making photographs” as Lise from Gallery 44 suggested.

Colour Theory is not going to be the title of this body of work. I’ve toyed with the idea of “Alterations” but that seems a bit too wanky. I’ll continue this post when I have more energy.

I’ll keep working this series, and see what happens. I just got a call from TIW and my circular colour panels are ready. Let’s see what happens with those. I’m also toying with the idea of three dimensional geometric shapes. The first of these will probably be an open ended square cube. I figure I can build it out of foam core. This weekend I’m buying a box of foam core.

I still haven’t managed to pick up the colour circular panels, but I did figure out a way to remove the stick in-camera. No more photoshop removal. I’ve also figured out I can do a lot of cool work on a table top without sticks with multiple panels on black and white foamcore backgrounds. Exciting. The following two images were all done in-camera, there’s no stick removal.

 

 

 

 

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