Here's a few notes on what we covered from our 22nd October ESIG.
Brian Cooke kicked off with a really interesting talk on an artist photographer he discovered on holiday. Ernest Pignon Ernest is a 'Fluxus and Situationist' French artist - see ERNEST PIGNON ERNEST – Site officiel. He paints and draws figures, some quite distressing and then produces posters of the work and puts them up on walls in situations appropriate to the image. In this way the image fits in with the location, which is itself an interesting approach to installation art. But then he goes further by taking photographs of the poster in context of the location, which is producing another piece of art. Two for the price of one! I though this was a new idea which certainly I haven't come across before. Thanks Brian.
Judith came on next and really asked us the question of how can we get our work shown in galleries. To illustrate Judith used as an example the exhibition in the Bosham Gallery by Margaret Soraya see https://boshamgallery.com/exhibitions/17/works/ These works are large, have a very consistent style and are mounted and displayed very professionally. They also have a large price tag of around £2000+. The questions raised as why is it possible to charge such a high price for these images, how was the author was able to get herself shown in the gallery on such an apparently large scale. How much is marketing and presentation? The question really is how do we club photographers up up our game? A discussion to be continued.
Peter Whitehead then showed us a series of images from the Lake District and how he chased down a scene from a Turner painting and constructed a similar composition. This was interesting, in part because it was clear how Turner had changed the scene a bit the fit his own composition and then how Peter found his own composition which he preferred.
Malcolm showed us some nice prints of snow dogs pulling a sleigh and wild animals from Africa. I must say the printing and presentation were excellent, and would make a strong entry into the 'panel of three' competition.
And finally Gerry showed us some composite images he has been experimenting with of castles surrounded by dramatic and turbulent clouds. These worked really well, and were exceptionally eye catching. I'd encourage Gerry to do more like this and to see where it might lead.
The other thing we did was to look through the images submitted to date for the Beds Invitation Competition. We scored these and the results will help with the selection.
The next ESIG is scheduled for 26th November. I'm not sure I'll be able to make it, so look out for my emails. If anyone else wants to stand in for me then that would be great. Let me know.
Once again, I send this email out to a wide selection of people. If you'd rather not receive it, then please let me know.
Brian Cooke kicked off with a really interesting talk on an artist photographer he discovered on holiday. Ernest Pignon Ernest is a 'Fluxus and Situationist' French artist - see ERNEST PIGNON ERNEST – Site officiel. He paints and draws figures, some quite distressing and then produces posters of the work and puts them up on walls in situations appropriate to the image. In this way the image fits in with the location, which is itself an interesting approach to installation art. But then he goes further by taking photographs of the poster in context of the location, which is producing another piece of art. Two for the price of one! I though this was a new idea which certainly I haven't come across before. Thanks Brian.
Judith came on next and really asked us the question of how can we get our work shown in galleries. To illustrate Judith used as an example the exhibition in the Bosham Gallery by Margaret Soraya see https://boshamgallery.com/exhibitions/17/works/ These works are large, have a very consistent style and are mounted and displayed very professionally. They also have a large price tag of around £2000+. The questions raised as why is it possible to charge such a high price for these images, how was the author was able to get herself shown in the gallery on such an apparently large scale. How much is marketing and presentation? The question really is how do we club photographers up up our game? A discussion to be continued.
Peter Whitehead then showed us a series of images from the Lake District and how he chased down a scene from a Turner painting and constructed a similar composition. This was interesting, in part because it was clear how Turner had changed the scene a bit the fit his own composition and then how Peter found his own composition which he preferred.
Malcolm showed us some nice prints of snow dogs pulling a sleigh and wild animals from Africa. I must say the printing and presentation were excellent, and would make a strong entry into the 'panel of three' competition.
And finally Gerry showed us some composite images he has been experimenting with of castles surrounded by dramatic and turbulent clouds. These worked really well, and were exceptionally eye catching. I'd encourage Gerry to do more like this and to see where it might lead.
The other thing we did was to look through the images submitted to date for the Beds Invitation Competition. We scored these and the results will help with the selection.
The next ESIG is scheduled for 26th November. I'm not sure I'll be able to make it, so look out for my emails. If anyone else wants to stand in for me then that would be great. Let me know.
Once again, I send this email out to a wide selection of people. If you'd rather not receive it, then please let me know.
