Approaching Abstraction
A 12x12" Inkjet Print PROJECT
Introduction:
Approaching Abstraction is the title I gave an earlier blog project, part five of my homage to the great Italian Still Life & Landscape painter Giorgio Morandi, Still Life. The idea for that earlier project was generated in part by several articles I had read by art critics who wrote about Morandi's work while he was still alive and working. The excerpts of from three of their writings have helped to define the theme of this project which shares the same title: Approaching Abstraction. What I am most interested in--and in many ways, alway have been interested in--is the relationship between the representational power of the photographic medium and its potential to approach--our totally submit to it its ability to misrepresent the outer world or turn fully into the realm of visual abstraction.
I have alway felt that a photograph I perceive to be meaningful for me operates at a many different and often subtle levels of meaning, including meanings that are ineffable, that transcend the ability of words to fully express. The fact is, a photograph that seems to represent outer-world appearances is nonetheless a picture, not the thing photographed, and every photograph is an image that has been subjected to a personal point of view, intention, or even a hidden our unconscious agenda. The other fact (it seems to me) is that images can be deceptive, just as things aren't always what they appear to be.
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I'll begin my series of three quotes about Morandi's work with the words of his good friend and art scholar from Bologna, Francesco Arcangeli (1915-1974) who wrote:
"Morandi's painting lives its own life. This is its choice and its strength. Are this life and this choice outmoded? Is Morandi offering us what are now bygone ideals? . . . His work still implicitly encapsulates a difficult but possible way of life . . . While everything all around is conspiring to eliminate the old artistic and moral truths, Morandi instead professes and honors them in unusual ways every day and in every work. In this sense, work after work, his art confidently seeks in its apparent visual normality to encounter the deep and threatening adventure that lies within the everyday existential condition." Francesco Arcangeli
La Pittura Metafisica & A Silent Revolution
Carlos Carra, another friend of Morandi's, was a painter and poet-philosopher who was part of the La Pittura Metafisica movement in Italy (1911-1920). In 1919 Carra wrote about the magical power of ordinary things. His writings almost certainly must have impressed Morandi (1890-1964) who at that time was a young and budding artist. Carra wrote:
". . . they are ordinary things that work on our soul in a beneficial way, arriving at the extreme summits of grace, and he who abandons them inevitably falls into the absurd, that is into nothingness . . . Ordinary things reveal those simple forms that speak to us of a higher state of being, which itself constitutes the secret magnificence of art . . . "
(See the online essay by Mariana Aguirre: Giorgio Morandi and the "Return to order": From Pittura Metafisica to Regionalism, 1917-1928.)
(Note: I too was deeply moved by the writing of a poet, the American poet, Robert Bly. In his book News of the Universe he explores the evolution of consciousness as has manifested in the form of poetry by people form all cultures around the world. I was especially moved by his chapter on the Object Poem (or Thing Poem). Bly focuses on the idea that "things" or "objects" share a consciousness similar to our own, and that "things" have important things to say to us. It was Bly's chapter on "Thing" poems that inspired me to begin making Thing-Centered Photographs. ~ Bly wrote in particular about one French poet, Francis Ponge, who inspired Bly to write "thing poems." Bly prasied the poet: "Ponge was the master of the thing poem." I became fascinated by an entire book that Ponge created around one poem he wrote, Le Pre ("The Meadow") entitle "The Making of the Pre'." Then in 2008 when my wife and I moved to Canandaiagua, NY after I retired from teaching in 2007, we chose to live on a beautiful meadow which inspired, in concert with Ponge's book, my ongoing series of photographs: The Meadow.)
Morandi's paintings of "ordinary" things (bottles, boxes, vases, dried flowers, etc. . . .) revealed in a very palpable-visual way their archetypal forms. Through his paintings and the forms of the objects he painted, he revealed in a subtee, quiet way, their inner life. His paintings were small in scale, and often in a format very close to a square. His paintings were often (mistakenly) taken by viewers of his time as being of little or no consequence. Indeed, his work had been criticized by his contemporaries (from the late 1920s through the time of his death in 1964) for lacking the power and scale in both subject matter and image format typically associated with other great artistic works made during Morandi's lifetime. Morandi was perceived by many of his critics of not having the energy, courage, or the drive for accomplishing anything other than mere studies, or exercises. History, however, has since proved that these critics had simply not been able to recognize Morandi's genius.
Some writers criticized Morandi's impulse toward abstraction. My third quote provides us with some very insightful insights on this issue by the art critic Carlo L. Ragghianti, who as we will soon learn, invoked the theme of "silence" in Morandi's work, a theme that Francis Ponge also wrote about.* Here is what Ragghianti wrote:
Morandi was certainly not unaware of the fact that his radical reduction of the world, while preserving its appearances, was a translation and perhaps even more, a silent revolution . . . In the last analysis, either one believed that Morandi's painting was a painting of still lifes in accordance with traditional, academic, or modern classifications . . . or one recognized that this painting of "pure" objects devoid of all semantics represented the utmost attainment of a transcendence of form over a sensory empiricism which is dispersed, accidental, mutable, and deceptive.
(Note: Robert Bly tells us in his book News of the Universe about an essay the poet Francis Ponge wrote in 1952 entitled "The Silent World Is Our Only Homeland." Bly quoted from Ponge's essay: "Things are the ambassadors of the silent world."
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In my Morandi inspired project Still Life I attempted to affirm and celebrate the essential mystery that pervades all of life's ordinary objects and places. Indeed, this has been my concern for many years and "thing" photographs often dominate my Morandi project. (Again I want to refer you to my blog project Thing-Centered Photographs.)
In this 12x12" Inkjet Print PROJECT I am exploring a different kind of image, one that conjoins photography's ability to represent the outer-world appearances with remarkable fidelity, and its ability to transform or "reduce" the outer world appearances in a way that "approaches abstraction." The most important thing for me, in this regard, is achieving a balance between the two opposing modes of visual representation, because with that balance an image has an unusual and yet extraordinary potential of unveiling the subtle archetypal underpinnings of the object (or objects) photographed. Morandi was in my opinion a master at achieving this balance in his painting.
When I contemplate one of my photographs which accomplishes this balance between representation and abstraction, I tend to become transformed by the experience of its revelation. When I am resonating to an image in this way, I get in touch with an otherwise unsayable knowledge that had been hidden deep within what I had photographed and simultaneously what had been hidden deep within myself. This experience of "Self-Knowledge" induces a stillness of mind that opens me to the mystery which the yogic sages say pervades all of life. When, as I contemplate an image, my mind becomes still, a palpable experience of silence draws me deeper into myself and deeper into the image. When I experience the "silent world" of my own inner Self I become open to the opportunity of having a silent dialogue with the image I am contemplating; it's as if I can "hear" ineffable messages that the things pictured (including their form & the picture's form--it's tones, light, structure, etc.) want to say to me.
In the yoga I practice, the teachings say that when I feel drawn t0 certain images and they stop or silence my mind, I have been gifted with grace which manifests an opportunity to enter the interior realm of the Human Heart, which is the dwelling place of the Soul, one's divine Self or Supreme Consciousness. I have come to recognize that photographs which function for me as True, living Symbols are images radiantly alive with the Light of Consciousness. And it has often been my experience that Symbols provide a bridge which unites images of the apparent world with an Imaginal-abstract (un-sayable) grace-filled world of knowledge that transcends the limited dualistic meanings of the human intellect and language.
This union of outer-world and inner-world images provide me spontaneous Heart-opening glimpses of the transcendent Truth: The Oneness of Being.
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I have always loved the way snow transforms the world; in this project I am presenting photographs which simultaneously embrace the world as it appears and presents the thing, place or event's interior reality though the photographs' (abstract) pictorial form. I believe that a photograph that functions for me as a Symbol is pervaded by grace and that it is grace which transforms me through the photograph's "transcendence of form over sensory empiricism." The subtle ineffable language of pictorial form speaks, in a kind of Silent dialogue, with its contemplator in the language of grace, in the silent language of the divine Self, and this "dialogue" takes place within the silence of the Human Heart.
I have enjoyed an awareness of this phenomenon in my work for a long time though I never had a way of understanding my experience until I studied the work of Carl Jung in the early 1970's and then--most importantly--later, in 1987 when I met Gurumayi Chidvilasananda, received her grace and began practicing Siddha Yoga. In the quote that follows is should be understood that the term Kundalini Shakti and my frequent use of the word grace are One and the same. Both refer to "the creative power of the universe." Gurumayi said:
Kundalini Shakti is deft in Her own creation. Not only does She create but She creates everything out of Her own Being, within Her own being, and upon Her own being. Therefore She is called both transcendent and immanent. She is in the universe, She is also beyond the universe. She is within everything, yet She transcends everything also. Quoted from the SYDA publication: Resonate With Stillness - Daily Contemplations
In my best, most meaningful photographs, those which function for me as True, living Symbols, it is the grace of my Creative Process that should get all the credit, for I have never been able to make photographs that function for me as True, living Symbols out of my own willful intention. Symbols emerge out of my diligent practice of making photographs. When I give myself to my practice of photography, I eventually become so concentrated in "seeing photographically" that I become free from thinking, which then opens me to grace. One could say Symbolic Photographs are the manifestation of self-effort and grace, the two wings of a bird that enable it to soar into the heavens. It is Grace, the creative energy of the universe (shakti) which transforms my vision just enough for me to recognize the divine presence in what I am pointing my camera toward. That presence is the divine Truth which lies hidden within everything in the apparent world, its forms, its tones, colors and light . . . And it is grace which gives photographs their visual-transforming power and their radiant Self-Knowledge. Since the fruit of my Creative Process are gifts of grace, I feel is my dharma, my responsibility to share the images openly, freely. And I do so--with a feeling of great gratitude--in my photography blog projects.
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I have written about Morandi's things and their archetypal forms, but I also love the paintings in which Morandi provide me with an ambiguous or disorienting experience of space. I may see the bottles and boxes, etc. he has painted, but that can all dissolve away as I enter into the hidden, secret spaces which exist between the forms in his paintings. As I look closely, intimately, deeply into those spaces of his paintings I can easily become lost in the experience of space and light, not knowing where I am, what I am experiencing, what I am looking at or seeing. Those ambiguous spaces in his paintings offer a bewildering, perceptually ephemeral experience of space and light that is much too difficult to grasp and hold onto with my intellect, with reason or understanding. And yet, in some strange way, the experience opens me to the feeling of a palpable presence which helps me find my way to some level of intuitive-visual recognition (an experience of Makom). Such is the mystery and wonder of life, the Nature of reality, and the magic of True, living Symbols.
I feel kindred in spirit to Morandi and his painting and I am grateful for what he has given me through his life and his Creative Process. I hope to reciprocate (as best I can) in photographs like the ones I have presented here, below.
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Photographs that function for me as Symbols must be contemplated for they contain a kind of meaning or knowledge that is unsayable and yet can be integrated nonetheless through an active engagement with the image in a Silent Dialogue. This involves an in-depth study of the image, than a "letting go" of the intellect and an opening to the grace that will for lack of a better way of saying it, "do the rest of the important work."
When I look at photographs I try see them "as if" it they are simultaneously a representational image of the outer world, and an abstract visual representation of an interior, ineffable reality. This requires that I shift my attention away from the recognizable subject matter in the image (and the associations they inevitably invoke in me) and focus instead on the subtle presence that pervades the image. This Imaginal presence is contained most of all, I believe, within the picture's visual language of forms, shapes and spaces; and the way they interactive within the structure manifested within the frame. A picture's tones & colors; and very importantly, the light in the image are in a continuous silent interactive dialogue with each other. The quality, or feeling of the light; the way light illuminates the in-between spaces; how the light reveals the forms and shapes, and the way the light can transform what is visible into feeling-tone. All these formal issues are part of a complex silent-visual language which can manifest a picture of transcendent meaning.
I enjoy Imaginally inhabiting the space between shapes and forms, and the light that is transforming a space. And there is yet another space to explore: the space-between a photograph's appearance and its interior radiant presence.
The most challenging part of contemplating Symbolic photographs is listening to what the image wants to say to me, rather than trying to lay a meaning of my own onto the image. In this subtle realm of contemplative experience, words and their intellectual meaning are of no use to me, for the dialogue that is occurring--both within the image, and between me and the Symbolic image I am contemplating--is unfolding within the Silent depths of the Heart.
The great yogic sages tell us that the entire world, and its divine source, exist within each and every Human Heart. They also teach that divine knowledge pervades every created thing in the universe. This knowledge can be perceived by the Eye of the Heart, and it can be known consciously within the Silence and grace that pervades the Heart.
Here are some brief teachings related to these ideas from my Meditation Master, Gurumayi Chidvilasananda:
From stillness everything springs forth. In the depth of your being,
great serenity is found. Divine wisdom is imparted in
the silence of the innermost heart.
Acquire the inner eye of knowledge by which you can
clearly see the whole world within.
Both matter and Consciousness arise from silence, the silence
of God, the silence of light. The same profound silence
exists in minerals, plants, and oceans. It also
exists at the core of every living being.
It is here, in silence, that the search for knowledge culminates.
When you become immersed in the stillness of your soul,
you understand everything.
Gurumayi Chidvilasananda
from the SYDA publication: Resonate With Stillness - Daily Contemplations
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I have numbered and placed titles under each of the photographs presented below, and in most cases the titles provide a brief description of what was photographed. I have also added commentary under selected images, and in some cases I have offered hyperlinked titles to blog projects that relate to a particular image. ~ The descriptive titles are not intended to tell you what the picture is about or what it means. In this project, which is attempting to explore the theme Approaching Abstraction, my hope is that the information in the title generates a bit of tension in your experience of looking at the photograph which, in most cases, is in varying degrees and in varying ways, a visual transformation. This is particularly true of the symmetrical photographs, which it seems to me are very effective in presenting simultaneously the subject matter photographed and a transformation of its originating source appearance.
It's worth nothing here, in summary, that every photograph is, first of all, a picture (not the things photographed) and usually it is an image which reflects someone's ideas, feelings, or intentions. But it also should be noted that the photographic medium itself has a "voice" of its own, and it has its own volition, which means it has the potential of transforming not just the subject matter in front of the camera but the photographer's idea or intention as well.
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A note about my 2023-2024 Inkjet Print Projects
From over 800 12x12" inkjet prints I have recently made (in the past 16 months), images which I consider among my most favorite and important images that have been published in my past blog projects, and, in most cases, images I had never printed before, I have recently made it my task to organize those printed images in collections (12x12" Inkjet Print PROJECTS) which share a similar theme. I then published these thematic collections as blog projects which include introductory statements, titles, commentaries on select images, etc.
So far I have created 12x12" inkjet print blog PROJECTS on the themes of Mystery, Circles, Still Life, Makom, The Meadow, Think-Centered Photographs, Pandemic Inspired Photographs, Quirky Photographs, and Approaching Abstraction, among others, plus a few bog projects in which I have document all of the larger sized inkjet prints I have made in the last 16 months. You can view the list of linked blog titles here: The 12x12" Studies Inkjet Print Books, Projects & other LARGER print projects.
A note regarding "How to Best View My Online Blog Project Images"
If you are viewing this project on a desktop computer or a laptop, I encourage you to read my blog explanation regarding How to Best View My Online Blog Project Images. In brief, click on the bog published images once, then once again; this will (hopefully) enlarge the image and present it in a dark tonal environment at its maximum viewing quality in terms of image sharpness, luminance, tonal gradations, etc.
The Photographs
Approaching Abstraction
A 12x12" Inkjet Print PROJECT
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Image #1 12x12" Approaching Abstraction PROJECT (glass covered table, lamp, glints of light
This is the photograph that generated the idea for this PROJECT. I had placed it in my last
Book Nine collection of recently printed 12x12" inkjet images thoughI had reservations
about including the image because of it's cryptic, abstract nature. Then I decided to use in
the 12x12" version of my earlier 1994-2000 project of miniature silver prints that paid
homage to the jazz composer and pianist Thelonious Monk, entitled mages entitled
Quirky Photos. And, here it is again! in the Approaching Abstraction PROJECT.
I will quote what I had written about this image in Quirky Photos:
"The image is very attractive to me mostly because of the jewel-like structure
of the reflected highlights seen against the dark field. There's also
something intriguing about the secretive look & voyeuristic
feeling in viewing this obscured constellation of glints of
light from behind a wall with hair-like or finger-like
plant material hanging down over the entire scene."
Image #2 12x12" Approaching Abstraction PROJECT Symmetrical Image (Eye Shadows)
I felt compelled to include lots of symmetrical images for this project. By their very nature
they often are a perfect balance between the power of photography to mirror objectively
the appearances of the outer world and simultaneously to transform the appearances.
This is a very special picture for me, for it is constructed from one image repeated
four times and conjoined such that the images mirror each other above and
below & left and right. At the very center of this image there is an eye
that is looking back at me as I look at it. I am mesmerized by the
dark and light shapes. Upon enlarging the image I can see sharp
pulsating-repeating lines and surface textures, but I cannot
determine what I am seeing nor can I remember what
I photographed. I am haunted by the way the
it looks, the way it looks at me, and what I
don't know about it. The more I look at it
the more still my mind becomes . . . as if
I have entered a hypnotic state.*
(*"A waking state of awareness in which a person's attention is detached from his
or her immediate environment and is absorbed by inner experiences
such as feelings, cognition and imagery.")
(The above image is from the Epilogue to my blog project Giacometti )
Image #3 12x12" Approaching Abstraction PROJECT "Skeleton Garage"
This image is a new 12x12"version of an image from my Garage project.
There is a slight tone difference from the garage image and the border tone and I like the
way this places the garage image into a new spatial context. I have in a way deconstructed
The old garage by taking information away and suspending what was left in black space which
for me is a metaphor for silence. The garage I photograph has become transformed to a fairly obvious
degree and I hope suggests meanings that transcend the subject matter.
Image #4 12x12" Approaching Abstraction PROJECT "Circled Portrait with a crossed line drawing"
This images is part of a larger series of portraits which includes the addition of circles of different
tones of gray and two lines which intersect inside or behind the figure's head and the circles.
I have included many of these "line portraits" in my project in homage to Giacometti.
Image #5 12x12" Approaching Abstraction PROJECT Symmetrical Image
"Blue Eyed Monster" (Air vents, Underground City, Turkey)
See my project "An Imaginary Book" especially the Preface and Prayer Stones.
Image #6 12x12" Approaching Abstraction PROJECT
This picture was made in the winter of 1981-82, in 30 degrees below zero while working
on my Lake Series project in Milwaukee. My camera leaked light on the file and
transformed a beautiful snow/lake scene into this strange image. So many
gifts have come to me through the photographic medium itself and my
Creative Process, I have learned to surrender and enjoy what has
been given. "I am not the doer" is a yogic way of embracing the
hand of grace and the hand of destiny that is always present
for me and my Creative Process.
Image #7 12x12" Approaching Abstraction PROJECT
Moonlit photograph : "The ghost in the corner"
(A Pandemic inspired photograph)
See my Nocturne project introduction in which I wrote about what I
experienced just before I made this photograph.
Image #8 12x12" Approaching Abstraction PROJECT
This is a picture of a "Straw Ball" that was thrown by some kids in a barn through
a shaft of sunlight. ~ See my blog project Thing Photographs
Image #9 12x12" Approaching Abstraction PROJECT "Portrait of young man in a harsh light"
Image #10 12x12" Approaching Abstraction PROJECT
Blurred Angel, as perceived in a window's reflection
I became fascinated by Angels after falling in love with Islamic Sacred Art
while visiting Turkey in 2011. The writings about angles by Henry Corbin
and by Tom Cheetham was an important influence on my work after I
completed my multi-chaptered 20011-13 project inspired by my
experiences in Turkey. Visit the project "An Imaginary Book"
and my collection of Angel Projects.
Image #11 12x12" Approaching Abstraction PROJECT
(Motel window view of a swimming pool area between two fences)
Image #12 12x12" Approaching Abstraction PROJECT Meadow Plants after a snow storm
I love the way snow transforms the "ordinary" world into the "extraordinary."
I have many, many snow photographs related to this one which seems
like an elegant, simple, ink drawing on white paper. The formal
quality of lines and their relationships to each other has
for me a musical, dance-like quality.
Image #13 12x12" Approaching Abstraction PROJECT Two pieces of blue tape and plastic strips
Image #14 12x12" Approaching Abstraction PROJECT
Blurred Shadow figures under a blossoming cherry tree, Washington DC
Image #15 12x12" Approaching Abstraction PROJECT Symmetrical Photograph
Framed Photo and house plants
See my commentary for image #2 above. Its simply astonishing how the process
of making symmetrical photographs can transform while at the same time
describing (to a limited degree, of course) what was in front of the
camera making the "source" images with which I constructed
this "four-fold" image. Visit this link symmetrical images
Image #16 12x12" Approaching Abstraction PROJECT "Vertical Thought: Tombstones"
(Visit my multi-chaptered project Triadic Memories to see more repetition images.)
This is the first in a series of images that will follow below in which the vertical form
serves as a dominate theme in square photograph.
"Vertical Thoughts" was the title of a composition by contemporary composer
Morton Feldman who was a major influence on my work from 2002-2007.
Triadic Memories is title of another of his compositions.
Image #17 12x12" Approaching Abstraction PROJECT
(Light dots on a wall next to a window with venetian blinds)
The echoing of the vertical black dots in a white ground
was not a conscious choice, but a gift of grace (which
makes its appearance in the ghost-like flutter of
warm light embracing the white dots.)
Image #18 12x12" Approaching Abstraction PROJECT
"Persephone's attachment to the earth and her mother"
Image #19 12x12" Approaching Abstraction PROJECT "Balloon Ribbon"
Image #20 12x12" Approaching Abstraction PROJECT
Symmetrical image (Source image: Tide Pool & Stones, Acadia, Maine)
Image #21 12x12" Approaching Abstraction PROJECT
Symmetrical Photograph (Tide Pool, Acadia, Maine)
Image #22 12x12" Approaching Abstraction PROJECT
"The watchful eye of a primordial Bird." "In the Woods" project.
This is definitely an abstract photograph. Nothing of the outer world is visible in this image.
The subject matter photographed has been transformed by multiple-exposure and a
printing process called solarization. I created three projects using the techniques.
(click here to see and read about In the Woods and the other two projects)
Image #23 12x12" Approaching Abstraction PROJECT Symmetrical image
from the project Snow Photographs from The Silver World
I always see a bird (or perhaps a bat) when I look at this image.
Birds are a recurring theme in my work.
Click here to see more "bird images."
Image #24 12x12" Approaching Abstraction PROJECT "Snow Drift" (Triangle)
Snow is one of the recurring themes in my work, especially the work I began doing
when we moved to Canandaigua, NY after retiring from teaching in Milwaukee.
Behind our house is a wonderful meadow, with ponds and a tapering woods
beyond it (see my ongoing Meadow Series). When it snows the winds
that blow fiercely across the meadow from west to east create
wonderful snow drifts. . . with a triangular form.
Image #25 12x12" Approaching Abstraction PROJECT Symmetrical "Snow Drift" (Triangle)
Visit my blog project Symmetrical snow photographs
Image #26 12x12" Approaching Abstraction PROJECT Puddle on snow covered driveway
I love the way snow flakes become visible as they fall from the sky over
the puddle in our driveway. Puddles are another recurring theme
in my work. (Visit my WATER / Puddle project)
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Image #27 12x12" Approaching Abstraction PROJECT (Fence, double shadows, red line, black dot)
Image #28 12x12" Approaching Abstraction PROJECT (Airplane taking off, Memphis Airport windows)
This image, and the one that follows below, are part of my Walkabout series of three
projects which are part of my Morandi inspired Still Life project.
I read many many books about Morandi and there was in one of them a mention of
his daily walks through his beloved Bologna where he lived his entire life.
Writers speculated that the architecture in Bologna was an inspiration
for some of his still life compositions. I liked the idea of taking
walks and making Morandi inspired still life photographs in
places other than my own home. I invite you to
visit my three Walkabout Still Life projects.
Image #29 12x12" Approaching Abstraction PROJECT (Wire book stand in storefront window)
Visit my blog project: Thing-Centered Photograph.
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Image #30 12x12" Approaching Abstraction PROJECT Symmetrical Photograph (Snow Drift forms)
See my project : Snow : Photographs from the Silver World
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Image #31 12x12" Approaching Abstraction PROJECT
(Snow Covered Rock, early morning, after the storm)
I took this picture twice, in a way. The night before the snowstorm I
took a picture of the same rock from the same angle and distance.
Visit my project:
This photograph is from the Field of Vision project
Image #33 12x12" Approaching Abstraction PROJECT View of business buildings in downtown
Milwaukee through venetian blinds
Visit my three-part project Window Pictures.
Image #34 12x12" Approaching Abstraction Entrance of a medical building on a snowy day
Image #35 12x12" Approaching Abstraction PROJECT (Sea Lion, Hat, Zoo pool)
Image #36 12x12" Approaching Abstraction PROJECT Symmetrical image "Blue Angel of Tears"
Image #37 12x12" Approaching Abstraction PROJECT Symmetrical image (Sunset Lake)
Image #38 12x12" Approaching Abstraction PROJECT (plastic book holder, plant shadows)
Image #39 12x12" Approaching Abstraction PROJECT Symmetrical Photo (couch, gold light)
Image #40 12x12" Approaching Abstraction PROJECT Symmetrical Photo (Rock flower blue crystal)
Image #41 12x12" Approaching Abstraction PROJECT Symmetrical Photo (Snow and plants)
Image #42 12x12" Approaching Abstraction PROJECT Symmetrical Photo (Fish Feeding Time)
visit Crystalline Paradise
Image #43 12x12" Approaching Abstraction PROJECT Symmetrical Photo Still life
visit Brushstrokes
Image #44 12x12" Approaching Abstraction PROJECT White shape suspended in dark basement
Image #46 12x12" Approaching Abstraction PROJECT (Close up image of leaves)
Image #47 12x12" Approaching Abstraction PROJECT (North Meadow, with triangular sky)
Image #48 12x12" Approaching Abstraction PROJECT "Still Life" (Corner of Studio)
Image #49 12x12" Approaching Abstraction PROJECT
(Persephone being abducted by Hades, with Demeter entangled with them)
Image #50 12x12" Approaching Abstraction PROJECT
Steve Lacy Series 12x12 version (Garden stakes, plants, side of garage)
Image #51 12x12" Approaching Abstraction PROJECT (rain covered screen and window)
Image #52 12x12" Approaching Abstraction PROJECT ( Basketball hoop and automobile tire)
See my 1994-2000 Studies Projects
Image #53 12x12" Approaching Abstraction PROJECT Symmetrical Image
Visit my Water Themed Projects to see all the Broad Brook project titles
Image #55 12x12" Approaching Abstraction PROJECT Symmetrical photograph
(from the project "A Walk in Twilight Garden")
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Image #56 12x12" Approaching Abstraction PROJECT (Outcropping of "stone steps")
Image #57 12x12" Approaching Abstraction PROJECT Night Storm Wind in Trees
Image #58 12x12" Approaching Abstraction PROJECT (Mysterious Workout room)
Image #61 12x12" Approaching Abstraction PROJECT Symmetrical (Cloud forest, Costa Rica)
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This project was first announced on
my bog's Welcome Page on
June 24, 2024
Related Blog Project Links
How to Best View My Online Blog Images with your desktop or laptop computer.
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Please visit the Welcome Page to my blog The Departing Landscape. It includes the complete hyperlinked listing of my online photography projects dating from the most recent to those dating back to the 1960's. You will also find on the Welcome Page my resume, contact information . . . and much more.
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