Saturday, December 19, 2009
Friday, December 11, 2009
Wednesday, December 2, 2009
Tuesday, November 17, 2009
Thursday, November 12, 2009
Sharon and I meet officially on a canoe trip years ago, and we both realized we knew each other through both of our various Chronicle book projects. She has been working on the nest series since the early part of 2007. Sharon has shown this work in print sizes up to 42x42 and the clarity and detail at that size is other worldly, she uses a variety of medium format digital cameras. Chronicle Books of San Francisco is publishing a book of this work, due out in Spring 2011.
"These photographs are the culmination of a trajectory that began after reading Living on the Wind by Scott Wiedensal. Interwoven amongst his essays about the amazing feat of bird migration is a call for habitat preservation and restoration; a subject that I have directed my lenses toward ever since with the hope of creating awareness of the beauty of native habitats through my art.
This immersion in the natural world inevitably led to the wonder of bird's nests as architectural feats that contain botanical evidence of the habitat in which they are built. In working with high resolution images, making larger than life prints, I hope to create a curiosity to a larger audience than "birders" about those builders and their survival needs. They are part of a work in progress for a book that will include information about their nesting habits and conversation issues.
The Nest Series has been created using specimens of nests and eggs dating from the 1800's to present day from The California Academy of Sciences, the Museum of Vertebrate Zoology, and the Western Foundation of Vertebrate Zoology."
Thursday, November 5, 2009
I was first introduced to Brigitte's new series this spring and I will never forget how powerful it was, even in it's early stages. A good hour was spent sitting and studying about 20 images from the series, while Brigitte read the inspirational haiku. The concept of working images from words and vis versa has always intrigued me, but to see and hear it as one in "Floating World" was transforming.
"While rummaging through a used book store in Princeton, New Jersey, I discovered a volume of haiku and tanka translated by Kenneth Rexroth and Ikuko Atsumi in 1977. The poems were by Japanese women from the 7th through the 20th centuries and represent all the major styles during this period—from the Classical to Contemporary schools. I was immediately drawn to the poems, and as I read them—so allusive and rich in imagery—I knew that I wanted to make their photographic equivalents. The Floating World refers to the conception of a world as evanescent, impermanent, of fleeting beauty and divorced from the responsibilities of the mundane, everyday world. For the poets in this volume, that world centered on love—longing for love and the beloved, mourning lost love, pondering its mystery. The beauty of the natural world—its flowers, landscape, the moon, and the changing seasons—serves as the primary metaphor."
Brigitte Carnochan, November 2009
This series is available in thee sizes and is printed using archival Epson
Ultrachrome pigment inks on uncoated Kozo (mulberry) paper handmade in Japan.
Original calligraphy by Richard Man.
A selection of these images will be exhibited at Gallery 291, San Francisco from
November 12–December 31, 2009.
291 Geary Street, Fifth Floor
San Francisco CA
Wednesday, November 4, 2009
Susan and I meet at the San Francisco Art Institute when we both went there in the '80's. She is a true Renaissance Woman when it comes to art: from the series "Woman in the Landscape", numerous films, and always, always animals. She has a love and way with animals that shines in this new show and book.
"I am interested in Arabian horses or authentic horses, by that I mean horses that come from the original source, since they are considered the fountainhead of all the world’s breeds and are also the most ancient of all the equine races. The book combines the misty landscapes with myths and legends and the spirit of the Arab horse."
Susan Friedman, November 2009
Friday, October 30, 2009
Wednesday, October 28, 2009
Tuesday, October 27, 2009
Thursday, October 22, 2009
Wednesday, October 21, 2009
Saturday, September 26, 2009
Wednesday, August 26, 2009
Saturday, August 8, 2009
Tuesday, June 16, 2009
Taking a photograph to the next stage of encaustic painting often requires a "reinventing" of ones once tried and true painting methods. Especially true of this series. I did four tests that all but ruined the subtle qualities that I so loved in these images. At times I feel like I'm forcing the image to go somewhere it's refusing to go and leaving the photo as is, unpainted is actually OK? But when the muse keeps calling me to continue painting, I must keep trying. Working larger proved to be my answer, nearly revolutionary in expanding my techniques and abilities to finesse the final image.
Sunday, May 31, 2009
Sunday, May 24, 2009
The smaller painting on the top are 16x16, I work this size or smaller first off to work out the details and colors, then move on to the larger size, in this case 23x23.