Welcome to L’ Atelier Luminous Landscape…
I tried; I really did try, and even went for the duct tape in an effort to not inject what seems always to become my inflated “$.02”.
In earlier remarks, Michael R. mentioned an upcoming Salon…wonderful opportunity for any able to spend time there…much as I so appreciate off hours at galleries among surprisingly diverse levels of appreciation, knowledge base, connectedness or not, but always the visions and details of the reason for being drawn to exploration valuable launch platforms to deeper understanding.
The “Storm Clouds” here offered up by Jeremy has been just such an exploration. One of the best experiences of my time at Pratt, although I did not fully appreciate it then, was the opportunity for great Art History instruction, not so much for the learning by rote, but for the building of understanding of how artists were “taught” across cultures and time, as in the Atelier where the master would oversee the developing skills and sensitivities of the “students” as they came to recognize particular idiosyncrasies of edge character, value, color, shapes and their overlapping, or positioning of their depth in the field at hand, the modelling and sculpting by light and luminescence, as when we were sent to observe how that light was defined through layers of glaze in subtle paint application. That sculpting is one of the initial reasons I came to love the darkroom. Through one negative I could try and retry and fail often and search new understanding in the sculpting of the envisioned space and the failure often to succeed but always the exercise rewarded by deeper vision at the time of capture, or in museums seeking the reason for resonance of particular works.
This one raw file of Jeremy’s has brought all of that early joy to the fore in the way diverse envisioners have responded.
First though it is the uneven playing field I finally recognized as the interrupter of sorting the two different edits, as both versions in their own way had removed the room from the anatomies, first the Jeremy version with the crop from the foreground but more dynamically blocking, the severe crop off the left field of the image in the second.
I finally saw these two blocks when viewing the images side by side and the content within each as three torsos on their curve of earth and how the artist would seek to offer the sculpting of them in their realities using the subtle fingering and glazes of the wildly diverging light and luminescence presented by the weathers of that moment across those torsos.
Once viewed in that light the original (raw) file became for me an Atelier and one I would welcome time spending time participating in. Please accept the above in the spirit of my pleasure in the discovery and in hopes that the beauty of latent possibility jumps out to others. Thank you Jeremy, and thank you Antonio
