And if...

There is more. What exactly does more mean? Another langscape? Another landguage? It is nature to look at the fescue on the other side of the divide and wonder at its marvelous greeness, luscious velosity. But it is movement that is at issue, or rather displacement.

Roberto dell Griva sits by the gunwale of the shipwrecked vessel. He ponders the idea that what he sees before him is yesterday. When he sees a bird flying there, he knows it is not there now. He can't swim. He knows that if he dives off the ship and swims toward the island, he will be swimming towards the day before. But, as mentioned, he cannot swim. Is this what it means to consider the verdosity of the fescue outside the limits of the enclosure? Of course it is. Get over it.

Touch re:touch

I am in the process of scanning and post-processing 4x5 negatives from a photographic survey of Fish Plants in Western Newfoundland. I have been photographing several sites over the past 4 years and have amassed a huge pile of images. There was a problem with a good portion of the negative stock I was using resulting in pin holes and other artifacts that forced a reconsideration of how things were going to be printed in order to preserve consistency and quality.




After much experimenting, a way was found to scan the negatives using a fluid mount system on the Epson 750. If one is careful to turn off most of the "correction" tools like automatic level and curve adjustments or scratch and grain correction, it is possible to get a scan that accurately reproduces the original negative. This will allow to process the image, make necessary adjustments and corrections while staying in control of the process and produce an image that will retain many of the qualities of the silver printing process.

Wen I return to the studio, I will begin posting some of these images to the Fish Plant blog and the CURRA website. I am still betwixt and between about how to present to work in these formats without, inasmuch, reducing the impact of "unveiling" the work in an exhibition context; it is necessary to control this kind of output so that the show can have some air of freshness when it is finally put together.







- Posted from GEDEON XXIII

Location:Newfoundland and Labrador 70,Bay Roberts,Canada

Long now and long here.

La surface, la face de tout, la face au-dessus de tout. Pas le visage, ça, c'est tout autre chose nécessairement. Quand on s'y arrête un peu, on peut voir le temps et la surface qui se touchent, ou bien même se croisent. Ce sont ces moments où la texture des choses, investissements psychiques, réussis à susciter le ralentissement de la perception horaire. Le temps devient une chose, un objet avec ni passée, ni future, et aucune notion du présent.




- Posted from GEDEON XXIII

Location:Newfoundland and Labrador 70,Bay Roberts,Canada

Up from the ground came a bubblin' crude.

In the beginning was the Word, and the Word was with Oil, and the Word was Oil.

Low level fly-by

As we shuffle through the langscape, a landguage ensues. Keeping eyes on the ground, careful not to stumble on unforeseen events, a pattern emerges. It is really all about seeing those patterns, some call it conspiracy paranoia, others see it as simply paying attention. Il faut bien faire attention aux fentes dans le parcours tout en gardant les yeux bien fixés sur le but du voyage. C'est bien ici la particularité d'une mouvance, continue, lente, en perpétuité.

Mouvances Chapitre 3

Et puis il fut ce qu'il fut. Et parfois même la couleur fais des voyages.

Parapathetic Supplies

Once on the red planet it will be necessary to carry things from home. Only the landguage of Earth will comfort and heal the lacerating effects of deep space travel. How far can one travel away from home before completing a full circle. There is something about infinity in this.

News from the red planet

Good news, we have reached our destination according to prescribed itinerary. Rover pushes ahead, opening a path. We travel slowly in the crimson language of this space. It is accommodating in its hostility.

Between the Betweens

Sometimes, just sometimes, the photographers work is to see the gaps and absences rather than the stuff cluttering the langscape. The sticky feeling of nothing.

Monter - Traverser (la surface)

Au retour du delà on passe par ici. Si jamais il y avait une raison pour la faculté de se souvenir.