Sunday, 28 July 2013

Geometric B2

Continuing work on my geometric series. This newest piece, Geometric B2, is the first in the B stream for the set. I'm not quite sure how extensive the final series will be (the count currently stands at six - 4As, 1B, 1C), though I doubt I'll be finished any earlier than the end of this year.

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Wednesday, 24 July 2013

Photo of the Week #21

I didn't have time to take any new photos this past week, so here are a couple more I took by the river up at Euston. Very typical outback Australia.

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Sunday, 21 July 2013

Gérard Stricher

My love of abstract art is no secret - I've discussed it on this blog before. Today I want to share some work I like by the French abstract artist Gérard Stricher.

Le temps s'accélere
La Montagne Sacrée

Patagonia mon amour

Gérard Stricher, born 1948 in Sarrebourg France, grew up in a family of artists. From a young age he wanted to be a painter and practised extensively. Without formal artistic education, Stricher was largely self-taught, picking up new techniques and ideas from other painters that he met or whose pieces he viewed. He travelled extensively, gathering knowledge, experience, and ideas to augment his creative output.

He acquired an old mill in the French Vexin and coverted it into his studio. In 2007, his exhibition at the Espace Commines in Paris introduced Stricher to collectors and galleries. Since then, his work has been displayed in numerous art galleries and private collections.

Stricher has quite a versatile style. You can see just from the images in this post the varying degrees of abstraction he employs. In some paintings, especially his abstracted landscapes (e.g. La Montagne Sacrée / The Holy Mountain) it's easy to make out the subject. In others, such as Les signes sont souvent trompeurs (below), this is much less clear. His mastery of the basic elements of art is very clear.

Les signes sont souvent trompeurs

Flying to the Sea


More of Stricher's work can be seen on his website (but don't bother with Google Translate or you'll end up reading about his "penchant for prestige high pasta") or his portfolio.

Painting begins with an idea.

Gérard Stricher

Sunday, 14 July 2013

Touching the Surface

In digital art, it's often necessary or useful to use visual representations of real world surfaces. These images, together with artificial equivalents, are referred to as textures. Quite a sizeable community exists devoted to creating and finding high-quality, interesting textures and sharing them with others. Often these are shared under Creative Commons licenses, allowing for varying degrees of free use by others (sometimes requiring credit or restricted to non-commercial works). This vast symbiotic network has opened up an unprecedented range of mundane and exotic textures for common use. I've used one or two free textures in the past and want to close the loop by uploading some of my own.

A couple of weeks ago, while visiting Armidale (the same visit from which this photo was taken), I had the opportunity to take quite a few photos. The sun was shining and I was in a very different environment to my home city so it seemed wise to take the chance. Given the farmy setting, there were lots of great textures to be captured, in addition to the landscapes and animals subjects. I spent a while walking around the area finding and photographing both common and interesting textures - it's sometimes hard to tell which will turn out well on a screen so I cast my net wide. A selection of these are shown below, ranging from cowhide to sky to various wooden structures.

All of my public textures can be viewed and downloaded here.

The past becomes a texture, an ambience to our present.

Paul Scott

Thursday, 11 July 2013

Photo of the Week #19

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A photo from my recent visit to Armidale. Our neighbours there have a couple dozen cows - very placid and friendly (until feeding time).

Thursday, 4 July 2013

Visual Abstraction

In recent months I've become very interested in abstract photography. A few of my previous photos of the week have been quite abstract (e.g. #4, #7, #16, #18) and I really enjoy creating them. It  involves a completely different mindset and approach to photography, similar to the contrast between abstract art and representational art. While the end result may bear little resemblance to the subject of the original photo, everything is abstracted from that image so it's important to think of the final product from the start.

This week I played around a lot more with my photos - mostly for fun but also partly because I just got a newer version of Photoshop (CS6) which is quite different to what I was using before (CS2). Yes, I'm well behind the times but I saw no need to fix what wasn't broken. It's fascinating learning all the new features but also a little tedious trying to re-learn how to do things that have changed. While there's probably some logic to it all, sometimes it seems that with new versions of software things get changed for the sake of change. I think it will take me a little while to get on top of it again. The new version is fantastic though!

These photos are all heavily altered and would be classified more as photo manipulations or digital artwork rather than photography. They are an experimental exploration rather than a cohesive set of images. Enjoy:













Larger versions of all these images can be viewed on my flickr photostream. Expect more in future!

There is no abstract art. You must always start with something.
Afterward you can remove all traces of reality.

Pablo Picasso