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23 hours ago, stray cat said:

I am ever so sl-o-o-o-wly coming to the discovery/realization that these are actually intensely personal.

Elementary Classroom is really just a sketch reminder to work on down the road. The images sandwiched between the color fields, which are definitely more specific with the weathered surface of the green and the corten look of the steel, are random, but even so, they are personal by choice, though they are not personal history. It's kind of like what Katrien De Blauwer has been doing for the last several decades with cuttings from magazines to express her own identity and history. I mention her, not only because she has an interesting approach with fragmented images, but critics have commented on a kind of Antonioniesque leaning in spare compositions. Her fragmentation technique is very reminiscent of some Bauhaus photography. For Elementary Classroom, I purposely omitted Elementary "School" Classroom and inferred the starting point of classroom, playing off the cliché of "what these walls have witnessed."

Edited by Ernest
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Squared Away Diptych
M-A APO 50
E100

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Electric Blue, Again
M-A APO 50 E100

Illusion Study: the blue rectangles are exactly the same value.

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Matinee
M-A APO 50 ADOX Color Implosion

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Barrier Theatre X
M-A APO 50 E100
Another version of the Barrier Theatre metaphor series that violates the boundary of the square, adding another element to the idea of "barrier," which isn't limited to landscape but speaks to  the concept of obstacle.

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Oz IV
M-A APO 50  E100

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Denim Cell Margins
M-A APO 50 E100

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On 4/28/2019 at 7:31 AM, Ernest said:

Denim Cell Margins
M-A APO 50 E100

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This is fantastic, Rog. The grey areas look like impasto applied with a palette knife. This, in itself, makes it an interesting use of a textural device on a non-textural surface.

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18 hours ago, stray cat said:

This is fantastic, Rog. The grey areas look like impasto applied with a palette knife. This, in itself, makes it an interesting use of a textural device on a non-textural surface.

Yes, I think that it is interesting, too, that a photograph of a wall texture coaxes the mind into equating the surface of the photograph for the surface of the wall. As you point out, this looks very much like knife painting with heavy impasto.  I did three different versions with this limited palette, simplifying the elements as I developed the work. I started out thinking about the black paintings from Ad Reinhardt, Frank Stella, and Robert Rauschenberg, mainly. And then, there is Mark Rothko and the Rothko Chapel. The notion of black as transition.

Anyway, in this piece I used five different values from basically, five different photographs, not including the Prussian blue strip on the left side. The eye immediately goes to the upper left corner to the lightest value and follows that strip down where it ends on that vertical slab of gray. I reversed the normal sense of atmospheric perspective in that the darkest gray, almost black, is the farthest away, and then there is an intermediate gray in the center of the composition. Painters use atmospheric perspective painting distant objects in a composition with the lighter value. Of my color studies, I like the way this one works so quietly. The thin blue strips, one might say they are an homage to Barnett Newman, but I think here they work on peripheral vision. My eye is aware of the strips, glances at them, then comes back to the gray tones. They are bookending the composition, as you say. Love it. The blue strip on the left side seems to vibrate because its value is so close to the gray.

As always, I certainly appreciate your informed perspective.

Cheers,
Rog

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111f and M3...

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Tethers
M-A APO 50  E100

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Tethers II
M-A APO 50  E100 & ADOX Color Implosion

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Zippo Triptych
M-A APO 50 & Thambar-M  E100 & ADOX Color Implosion
Study working with focus and blur counterpoint with an intrusive zip.

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M240 50 lux

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Cloud Test Swatches
M-A & M246 APO 50  E100
Stitched pano, poor man's Technorama. Notations for a J.M.W. Turner cloudscape color detail.

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49 minutes ago, Ernest said:

Exhilirating focus chAnge! Love the BLUR working and phosphorescent red.

Thanks Rog, it's a photo from the archives that I passed-over, but then I looked at it again, as one does. At which point I thought I saw a natural diptych. 

 

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Cloud Test Swatches No. 2
M-A & M246 APO 50 E100

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Tab Corner V
M-A APO 50 ADOX Color Implosion + E100
Full frame green edit

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Mask Theatre (from the Transparent Study series)
M-A APO 50 ADOX Color Implosion + E100
M246 Summilux-M 50 bc

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