Joe Dicks Point, near Burgeo, Newfoundland.
Photography served as my “sketch-book-alternative” in isolated places difficult to access for plein-air painting. It also served my visual greed for collecting images. However, painting from photographs has its dangers. Analysis of form, structure and selection of emphasis are essential.
Photography, however, stands on its own. These are images complete in themselves that I have no desire to translate into paint. My relationship to both photography and paint has changed. I will still use photography for its recording function, but paint is of greater interest to me now for non-objective, organic flow forms, and pure colour & texture.
Francois, Newfoundland.
Francois, Newfoundland.
Head of La Hune Bay, Newfoundland.
Remains of foundations of houses in Cape La Hune, Newfoundland.
“The Tolt,” the peak across the salt-water pond, Cape la Hune, Newfoundland.
Sarah Courtney looks at remains of Cape la Hune church, Newfoundland.
Rencontre West, Newfoundland.
Church ruins, Rencontre West, Newfoundland.
Push through, Newfoundland: View from the graveyard.
My relationship to both photography and paint has changed. I still use photography for its recording function, but paint is of greater interest to me now for non-objective, organic flow forms, and pure colour & texture.
This section presents some traditional landscape photographs. Another section will present some literal photographs that are nevertheless not readily readable, and appear at first to be non-objective. I like to see the extraordinary in the ordinary.