Friday, 1 July 2016

photographic abstraction #19

There is one new motif in this collection of abstract photographs, used in Distortion and Over the Hills and Far Away. The latter is the first monochrome image to be featured in this series. Electric Storm is actually a photograph of spilt paint that has been diluted by running water, while Mapping the Desert and The Icing on the Cake are both photos of stained walls, although both are unlike any other images in the series that use this motif. Although Sheep May Safely Graze comes from the same source as Surface of the Moon in Photographic Abstraction #18, I still think that nobody will guess what that source is, but I’d love to be proved wrong.

The darker lines in the following picture appear to have been bent out of shape, hence the title:

distortion

If the paint photographed in the next image had been a different colour, I’d have had to come up with a different title:

electric storm

The next photo reminds me of a dusty old map on which there appears to be writing that I can’t quite read:

mapping the desert

The following image was originally a colour photograph, until I discovered that it took on a more dramatic appearance when reduced to black and white:

over the hills and far away

The vaguely ovine shapes on a green background immediately suggested to me the title of a well-known aria from JS Bach’s cantata #208, although I’d be the first to admit that there is nothing musical about this image:

sheep may safely graze

The last image is an example of efflorescence—dissolved salts being re-deposited as the dampness in a wall slowly evaporates:

the icing on the cake

recent posts in this series
Photographic Abstraction #15
Photographic Abstraction #16
Photographic Abstraction #17

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