Rose Long : painter
I paint in collaboration with two partners – Water and Gravity.
Using this technique, I explore the character and emotion behind the façade of my subjects, be they human or otherwise. These subjects sit in an energetic atmosphere comprising of light and shadow in space. For me, revealing the mood and underlying reality of the situation is key.
The element of complex variability that these partners introduce, allow my work to interweave my own intention with the results of the laws of physics.
I have had a life long career as an architect and am fascinated with the built fabric, proportion, scale and pattern.
The Golden Mean and the Fibonacci integer sequence, ratios that are very pleasing to the eye, are frequently used in my compositions, choice of canvas size and positioning of the subject. Patterns emerge in my work through the use of these rules.
The progression of my work is evolutionary, not radical. Each piece informs the next in technique and expression. The pieces are progressively becoming more allegorical.
Using the medium of paint feels as compulsive and empowering for me now as learning to read was as a child.
My ‘Stripes’ series of paintings expose oil paint for the viscous, sensual, seamless, malleable and yet forgiving medium that it is.
In this series I examine colour or tonal combinations together with the texture, form, edge, shadow and layering of paint on canvas to emphasise the convening of the boundaries of paint, air and canvas.
While much of the work is purely a study of colour and texture, some paintings begin with a core concept. ‘Stripes Chakra’, for example, is based on the chakra colours in relation to the human body and is painted symmetrically as a symbol of two beings that are different in detail and DNA but who are perfectly harmonious in their relationship.
As an architect I have worked with different drawing tools to create structure in space. Similarly with these paintings, the use of tools is paramount – tape; straight edge; set square; palette knife; brushes, scribes and plumbs are all used to apply paint with differing results.
Nicholas Gentilli : photographer
For an updated list of my exhibitions,solo or group, to date click here
I have been an architectural photographer all my working life. Places and spaces interest and fascinate me .
My work explores both the power of the single image and the rhythm and opportunity achieved through constructed images. Lately I have been exploring film.
My project work on Hitler’s Atlantic Wall has taken me to the coastline of Northern Europe to capture these concrete crumbling behemoths while exploring their strong sense of time and place through their natural settings. I am especially intrigued by the way that the force of nature has undermined these brutal Blockhouses over the last 75 years leaving them softened and absorbed into their coastal landscape.
Imagined Places series
My ‘imaginary places’ series has enabled me to express my fascination with both architecture and image-making in camera and in computer via repetition and reconstruction.
The initial challenge is to find a space or place that resonates beyond its immediate 3 dimensional form . The manner in which the environment speaks to me, informs my artistic expression going forward.
Having considered this carefully, and only over several days, do I start taking photographs in great detail and numbers. Generally, I now use high-end digital cameras or 35mm hand-held cameras. Armed with my photographs, I start a lengthy review in the studio. This acts as a filtering process. Sometimes, if required and the opportunity presents itself, I will return to re-shoot.
Slowly – and ever so rewardingly – the imagined place crystallises and I will move onto Photoshop to both build and create it. This represents the next and final stage in my artistic process.
My imaginary places series explores the relationship with place and time. The addition of countless elements from other images to form the constructed images explores the inherent tension and visual opportunity that lies between a still single image and a movie.
The format of these pieces further strengthens this exploration.
I think by the very frenetic nature of our existences, the profundity of our surroundings does (quite understandably) pass us by. The very fact that viewers of my work are forced to reconcile the ‘real’ with the ‘constructed’ creates a tension .I like exploring the way viewers engage on multiple levels when trying to understand the “imagined” image. I explore this through repetition, light and humour until the artwork is a virtual movie; one based on the built environment only.