--Sogyal Rinpoche
Going to the Mountains is going to another time. That's why we go. We went to the Mountains, Kirk Weller and I.
My photos were taken with a 1972 Minolta SR-T101.
From the campsite, end of day. Looking East.
First thing next morning, looking NNW.
Just as the cinematography for a dream sequence in a movie is usually distorted to signify an interior experience, away from the light and shadow shared by the others in the story, any abstraction of an image is felt from an interior place like daydream.
Kirk's image, within ten minutes of mine (taken with a Nikkon DSLR). His deeper saturation of the morning light (returning light) just barely moves toward distortion, which begins to shift the meaning from "out there" to "in here."
A monotype from this summer, based on similar experience.
Just as the cinematography for a dream sequence in a movie is usually distorted to signify an interior experience, away from the light and shadow shared by the others in the story, any abstraction of an image is felt from an interior place like daydream.Another monotype from earlier this summer.
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A dreamscape, the top photo, no sense of sure footedness, but stability still, that deep, shifting chasm, the coolest of blue-greys with a soft brush of pink. It's that moment when night and dawn cross over. I love how you can make out the x markings on the rock face, series material.
ReplyDeleteGreat sense of space and distance in the second composition despite all of that mass and the shadow in the center is another presence, the electric Cerulean Blue is just enough. I can smell the ice crystals in the air.
I really enjoy the white space in the lower monotype, holding it's own without overpowering the organic forms.
both monotypes are so interesting--but the 2nd one is my favorite. What lovely colors and shapes!
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