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

Baie des Robert

Today we drove across the island, the drive seemed longer than usual. Not that many construction sites, not too much traffic but it just seemed to take forever. But we are in Bay Roberts now.

A quick idea, on the way back from BR photograph the back of every transport truck I get stuck behind for more than 1 minute. The project will be called: "647 km, every truck I got stuck behind".


At first thought, I would like to photographs tone square, perhaps black and white. I will have to decide whether I shoot with the point and shoot or the DSLR. I am thinking that shooting while driving could be better done with the point and shoot.







- Posted from GEDEON XXIII

Location:Central St,Bay Roberts,Canada

The Wringing in Your Ear

The Wringing in Your Ear from Pierre LeBlanc on Vimeo.

Pictures @ an exhibition

These two pieces are presently on show at the Art Gallery of Grenfell Campus, Memorial University of Newfoundland.

I think they are about space and experience. A view of Dublin on my first voyage there in October 02010. It is always a question of separating ones own experience form the knowledge acquired from books, maps and Google.

An spéir ar Bhaile Átha Cliath (02010-10)
Subtitle: 173rd Cantos for Gilles Deleuze
Medium: Inkjet on Tyvek  :: 120cm X 120cm :: Ed. 1/5

::

and

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Dublin Marathon (02010-10-25)
Medium: Inkjet on Tyvek :: 120cm X 120cm :: Ed. 1/5

Too long

Too long since the last post. Images piling up losing context and foresight.

Have been thinking about ownership in the online universe. Does an asset really belong to anyone anymore and does ownership actually mean anything today? Of course the question is rhetorical, a rhetoric; it could even be sophistic. All resides in the user. Freedom is a responsibility and that is so much more important than a right, it is the social contract.

Long live the little animals that run wild in the kingdom of the wild.

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.

The River

Water,

Textures,

A walk.

Les Lumières

Et ce fut l'age des lumières. Le moi et le soi se plient et se replient.

Autobahn

On the road, to the road, in the road.

Through the road, if such can be found; it is found.

On the way to where we should be.
In that place that is between where we are,
And where we are going.
Some call it Pennsylvania.
Or Erewhon.

C'est bien cela la mouvance.
Et.
On t'aime Gérald.

Once inside or around...

Prim(e)(al)

ONE

TWO

THREE

Au tours

Getting around the subject is sometimes the only way to enter.

Entering the subject is sometimes the only way to get around it.

Mouvances Chapitre 3

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

Mouvances Chapitre 2

Asteroids & Baseball

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.

Ethics and the stitching of skin

Metaphors come to us, they seethe in the bubbling miasma of the biosphere lying in wait for an unlikely candidate for infection. Like Burroughs' Virus 23 that carries language and physically changes the body it infects to give it the ability to use a language; sometimes it hurts a bit.

This was the packaging from a bit of suturing I had done on my knee in Cuba a few years back. I fished it out of the garbage pail in the emergency room at the Varadero hospital I got stitched up in. I remain amazed at the brand name of the suture thread; ethicon. It has a somewhat Sci-Fi feel to it. The images brought to mind when thinking of a gash being closed up with "ethicon" are multiple and political, yet another item in the long list of landguage art-i-facts.

4-0 Prolene, polypropalene suture, 13 stitches in my right knee