A MINDFUL LANDSCAPE- Donna Cosentino & Karen Hymer > EXHIBITION #3
EXHIBITION #3
Rainer Würth/ Coast 1
Rainer Würth /Coast 2
Rainer Würth /Coast 3
RAINER WURTH:
Rainer Würth (*1967) – writer, photographer (portraits, body & nude, landscape). In his photos inner and outer landscapes often blur into one another. He is interested in the open, in fragments and abstraction. For him as a photographer it is all about the moment, motif and composition. In the process of taking pictures Rainer Würth experiments with apertures and exposures, intentional camera movement (ICM), light and color. The camera is a tool for him to create visual poetry or to tell a story.
Works of Rainer Würth have been showcased recently in various curated group exhibitions – including Blank Wall Gallery (Athens), LoosenArt (Rome), Art Square Gallery New York, Kunst Depot Gallery (Venice), Glasgow Gallery of Photography, Carlotta Gallery (GB), PH21 Photography Gallery (Budapest), Colonel Eugene E. Myers Art Gallery (Department of Art & Design at the University of North Dakota / US) and Cong Institute for Contemporary Art (CICA Museum) (Gimpo / South Korea).
www.rainerwuerth.de/photography
www.instagram.com/art.kotuku
Rainer Würth (*1967) – writer, photographer (portraits, body & nude, landscape). In his photos inner and outer landscapes often blur into one another. He is interested in the open, in fragments and abstraction. For him as a photographer it is all about the moment, motif and composition. In the process of taking pictures Rainer Würth experiments with apertures and exposures, intentional camera movement (ICM), light and color. The camera is a tool for him to create visual poetry or to tell a story.
Works of Rainer Würth have been showcased recently in various curated group exhibitions – including Blank Wall Gallery (Athens), LoosenArt (Rome), Art Square Gallery New York, Kunst Depot Gallery (Venice), Glasgow Gallery of Photography, Carlotta Gallery (GB), PH21 Photography Gallery (Budapest), Colonel Eugene E. Myers Art Gallery (Department of Art & Design at the University of North Dakota / US) and Cong Institute for Contemporary Art (CICA Museum) (Gimpo / South Korea).
www.rainerwuerth.de/photography
www.instagram.com/art.kotuku
Ron Smid/Bloody Foreland
Ron Smid/Celestial Cascades
Ron Smid/Lake Louise
If viewing on a computer click on arrow to read about Ron Smid and continue to group exhibition
If viewing on a computer click on arrow to read about Ron Smid and continue to group exhibition
Ron Smid/Reverent Light
Ron Smid/Superior Mist
Ron Smid/Winter Island
RON SMID:
"For nearly three decades, I have sought to capture the spiritual essence of the Canadian landscape through the traditional photographic medium.
Beginning in my early twenties, I embarked on countless solo canoe excursions into the Precambrian wilderness of Northern Ontario, photographing the polished, lithic landscapes previously painted by the famed Canadian Group of Seven artists.
I have remained a photographic purist, choosing the slow workings of both medium and large format cameras over contemporary instruments, to transmit nature’s luminant expressions onto both colour transparency and monochrome film.
To experience these transitory moments of resplendent light through the traditional photographic lens has been an inspiring journey with profound spiritual wonderment. My work strives to go beyond the mere documentary capture of a landscape by gazing towards the veiled; creating imagery where the physical world touches the divine."
www.ronsmid.com
www.instagram.com/light_on_our_land
"For nearly three decades, I have sought to capture the spiritual essence of the Canadian landscape through the traditional photographic medium.
Beginning in my early twenties, I embarked on countless solo canoe excursions into the Precambrian wilderness of Northern Ontario, photographing the polished, lithic landscapes previously painted by the famed Canadian Group of Seven artists.
I have remained a photographic purist, choosing the slow workings of both medium and large format cameras over contemporary instruments, to transmit nature’s luminant expressions onto both colour transparency and monochrome film.
To experience these transitory moments of resplendent light through the traditional photographic lens has been an inspiring journey with profound spiritual wonderment. My work strives to go beyond the mere documentary capture of a landscape by gazing towards the veiled; creating imagery where the physical world touches the divine."
www.ronsmid.com
www.instagram.com/light_on_our_land
Steve Eirschele/Artifact
FIRST PLACE
FIRST PLACE
Steve Eirschele/Coral and Lava
Steve Eirschele/Mushrooms, Italy
If viewing on a computer click on arrow to read about Steve Eirschele and continue to group exhibition
If viewing on a computer click on arrow to read about Steve Eirschele and continue to group exhibition
Steve Eirschele/Perfectly Round Bolder
Steve Eirschele/Reflections
Steve Eirschele/Spirit of Dark Hedges
Steve Eirschele- First Place
Jurors Comments:
"A glowing boulder floats in the darkened forest as if it were lit from within. It doesn’t quite belong, as if it rolled down during the ice age and settled there to be discovered by a wandering photographer. There is quiet beauty in the image. A still, otherworldliness is enhanced by the use of monochrome. The appearance of the boulder, smooth with gentle curves, gives the impression of stone carved by hand. The subtle detail in the dark forest provides a hint of place but keeps the viewer wondering… where are we? when are we? The connection between photographer and nature is sensed, leading the jurors to agree that Eirschele captured the spirit of the “Mindful Landscape” through his unique interpretation of this scene."
-Donna Cosentino & Karen Hymer
Q&A: Jurors Donna Cosentino & Karen Hymer interview winner Steven Eirschele
Jurors: "Where do you live and photograph?"
Eirschele: "I live on Whidbey Island, which is in the Salish Sea, an hour or so north of Seattle. This is where I make many of my photographs, including Artifact. However, I do like to travel so many of my favorite shots were also captured while traveling.
When photographing, do you “previsualize” the image? I started my photographic journey in the mid-1970’s while I was attending engineering school at UW-Madison. I fell in love with B&W, a.k.a. Monochrome, photography, especially printing in the darkroom. Much of my education in photography followed Ansel Adams’ footsteps. Of course, the Zone System and Previsualization were his cornerstones so yes, I still previsualize most of my best images. Habit, I suppose. While transitioning from a wet-chem darkroom to a computer-based Lightroom was difficult for me, the time frame from shutter release to print is significantly shorter, making previsualization easier, especially as I get older! "
Jurors: "Tell us about your choice of Monochrome."
Eirschele: "I enjoy capturing images that draw the viewer's attention to a specific place in the photograph, typically one with intriguing qualities. The viewer is invited to think a bit about what they are seeing. Perhaps a bit puzzled. What is this object? Where am I? How did it get here? So, I seek out images I hope will evoke some emotions from the viewers by focusing their attention on these curious and perhaps unfamiliar objects discovered in unique surroundings. And monochrome images play perfectly into this as black and white is abstract to begin with!"
Jurors: "When you are photographing, what excites you?"
Eirschele: "Setting up (previsualizing!) a potentially amazing image with my camera mounted on a tripod. This summer we vacationed in Hawaii. While exploring the beaches of the Big Island I came across an amazing scene. A huge white coral boulder nestled in the expansive jet-black lava beach. Beautiful and dramatic looking across the surf into the western sky. Perfect setting sun and clouds. I spent over three hours at this single location setting up many long-exposure shots. One of my favorite photos of 2024. That’s what excites me!"
Jurors: "Do you generally print your images?"
Eirschele: "I always print my favorite images. I love to print. The magic of watching an image appear in the developer tray is unforgettable. I believe the incredibly important nuances that make a beautiful print are not always appreciated when viewed with transmitted light. You can only truly appreciate these nuances when viewed with reflected light from a perfectly printed image on high quality paper (I love Canson and Hahnemuhle papers!). Then dry mounted, framed behind glass, and proudly displayed on a wall."
Jurors: "This image would make a stunning photogravure or platinum print. Have you played with those processes?"
Eirschele: "I totally agree with your observation. ‘Artifact’ would be gorgeous printed using either photogravure or platinum process. While I am roughly familiar with both processes, I have not been fortunate enough for the opportunity to play with them. The closest I can get with my Epson large format printers is to print this image on highest quality matt paper and try to approach the look and feel of photogravure or platinum."
Jurors: "Are there photographers that have influenced you that you would like to mention? "
Eirschele: "Early on the masters like Adams, Ed Weston, Brett Weston, John Sexton, Fred Picker, David Vestal, and many others heavily influenced my work, and still do. Every now and then I still pull Adam’s ‘The Print’ off my bookshelf for inspiration (and guidance). More recently however, artists (and educators, always learning!) like Keith Carter, Harold Davis, Sam Abel, Les Picker, Mark Galer, and Sharon Tennenbaum have helped me with inspiration and always learning."
MORE ABOUT STEVE EIRSCHELE:
"I have been a professional engineer by degree and career as well as an avid photographer for over 40 years. I fell in love with photography during college at UW-Madison choosing black & white images, which have always been and still is my passion.
In 1977 I joined the Badger Photographic Society in Madison, Wisconsin where I improved my camera and darkroom skills, actively participating in many classes, group critique and workshops, always striving to understand and improve my images.
I designed and built three of my own wet chemistry darkrooms, spending hundreds of hours further perfecting my camera and darkroom techniques using written instruction from masters including Ansel Adams, David Vestal, Michael Keena, Brett Weston and many others. I quickly progressed from 35mm to medium format, a huge leap in producing fine art photographs. I continued to attend many workshops and field outings while displaying and selling my work in public and corporate galleries. I reluctantly entered the digital photography age, giving up my state-of-the-art wet chemistry darkroom for a Lightroom. I once again realized significant opportunities to perfect my art, spending less time in post-processing and more time in the field.
And I still love to print! For me, one of my fine art photographs is not complete until it’s perfectly printed, matted, framed, and displayed on the wall. I use some of the best photographic equipment currently available, so my images are processed from very large files. Each one is meticulously post-processed. Viewing fine art images such as on this website or Facebook or Instagram is very fast and convenient, but you won't see the true beauty and nuances of the image until it’s been perfectly printed.
Today I enjoy perfecting images that draw the viewer's attention to a specific place in the photograph, typically one with intriguing qualities. I invite the viewer to pause and think a bit about what they are seeing. Perhaps they are at first a bit puzzled. What is this object? Where am I? How did it get there? After a moment, the viewer then starts to discover the surroundings, preferring to shroud these details in deep shadows. I seek out these types of unique seascapes and landscapes that I hope will evoke some emotions from the viewers by focusing their attention on these curious and perhaps unfamiliar objects discovered in nature’s unique surroundings."
Achievements and Awards include 1994 Sale of 'Column at Christchurch' to Boston Scientific during corporate display of 15 framed B&W silver halide photographs &
2005 - 2010 Display and sale of three B&W silver halide photographs to Lease Crutcher Lewis, Seattle Washington.
IMAGES FOR SALE-
Paper size is 11"H x 17" W
Canson or Hahnemuhle archival paper
$350 unframed
Limited edition of 15
Signed on back
Contact: steve@eirschelephotography.com
www.eirschelephotography.com
Steve Eirschele- First Place
Jurors Comments:
"A glowing boulder floats in the darkened forest as if it were lit from within. It doesn’t quite belong, as if it rolled down during the ice age and settled there to be discovered by a wandering photographer. There is quiet beauty in the image. A still, otherworldliness is enhanced by the use of monochrome. The appearance of the boulder, smooth with gentle curves, gives the impression of stone carved by hand. The subtle detail in the dark forest provides a hint of place but keeps the viewer wondering… where are we? when are we? The connection between photographer and nature is sensed, leading the jurors to agree that Eirschele captured the spirit of the “Mindful Landscape” through his unique interpretation of this scene."
-Donna Cosentino & Karen Hymer
Q&A: Jurors Donna Cosentino & Karen Hymer interview winner Steven Eirschele
Jurors: "Where do you live and photograph?"
Eirschele: "I live on Whidbey Island, which is in the Salish Sea, an hour or so north of Seattle. This is where I make many of my photographs, including Artifact. However, I do like to travel so many of my favorite shots were also captured while traveling.
When photographing, do you “previsualize” the image? I started my photographic journey in the mid-1970’s while I was attending engineering school at UW-Madison. I fell in love with B&W, a.k.a. Monochrome, photography, especially printing in the darkroom. Much of my education in photography followed Ansel Adams’ footsteps. Of course, the Zone System and Previsualization were his cornerstones so yes, I still previsualize most of my best images. Habit, I suppose. While transitioning from a wet-chem darkroom to a computer-based Lightroom was difficult for me, the time frame from shutter release to print is significantly shorter, making previsualization easier, especially as I get older! "
Jurors: "Tell us about your choice of Monochrome."
Eirschele: "I enjoy capturing images that draw the viewer's attention to a specific place in the photograph, typically one with intriguing qualities. The viewer is invited to think a bit about what they are seeing. Perhaps a bit puzzled. What is this object? Where am I? How did it get here? So, I seek out images I hope will evoke some emotions from the viewers by focusing their attention on these curious and perhaps unfamiliar objects discovered in unique surroundings. And monochrome images play perfectly into this as black and white is abstract to begin with!"
Jurors: "When you are photographing, what excites you?"
Eirschele: "Setting up (previsualizing!) a potentially amazing image with my camera mounted on a tripod. This summer we vacationed in Hawaii. While exploring the beaches of the Big Island I came across an amazing scene. A huge white coral boulder nestled in the expansive jet-black lava beach. Beautiful and dramatic looking across the surf into the western sky. Perfect setting sun and clouds. I spent over three hours at this single location setting up many long-exposure shots. One of my favorite photos of 2024. That’s what excites me!"
Jurors: "Do you generally print your images?"
Eirschele: "I always print my favorite images. I love to print. The magic of watching an image appear in the developer tray is unforgettable. I believe the incredibly important nuances that make a beautiful print are not always appreciated when viewed with transmitted light. You can only truly appreciate these nuances when viewed with reflected light from a perfectly printed image on high quality paper (I love Canson and Hahnemuhle papers!). Then dry mounted, framed behind glass, and proudly displayed on a wall."
Jurors: "This image would make a stunning photogravure or platinum print. Have you played with those processes?"
Eirschele: "I totally agree with your observation. ‘Artifact’ would be gorgeous printed using either photogravure or platinum process. While I am roughly familiar with both processes, I have not been fortunate enough for the opportunity to play with them. The closest I can get with my Epson large format printers is to print this image on highest quality matt paper and try to approach the look and feel of photogravure or platinum."
Jurors: "Are there photographers that have influenced you that you would like to mention? "
Eirschele: "Early on the masters like Adams, Ed Weston, Brett Weston, John Sexton, Fred Picker, David Vestal, and many others heavily influenced my work, and still do. Every now and then I still pull Adam’s ‘The Print’ off my bookshelf for inspiration (and guidance). More recently however, artists (and educators, always learning!) like Keith Carter, Harold Davis, Sam Abel, Les Picker, Mark Galer, and Sharon Tennenbaum have helped me with inspiration and always learning."
MORE ABOUT STEVE EIRSCHELE:
"I have been a professional engineer by degree and career as well as an avid photographer for over 40 years. I fell in love with photography during college at UW-Madison choosing black & white images, which have always been and still is my passion.
In 1977 I joined the Badger Photographic Society in Madison, Wisconsin where I improved my camera and darkroom skills, actively participating in many classes, group critique and workshops, always striving to understand and improve my images.
I designed and built three of my own wet chemistry darkrooms, spending hundreds of hours further perfecting my camera and darkroom techniques using written instruction from masters including Ansel Adams, David Vestal, Michael Keena, Brett Weston and many others. I quickly progressed from 35mm to medium format, a huge leap in producing fine art photographs. I continued to attend many workshops and field outings while displaying and selling my work in public and corporate galleries. I reluctantly entered the digital photography age, giving up my state-of-the-art wet chemistry darkroom for a Lightroom. I once again realized significant opportunities to perfect my art, spending less time in post-processing and more time in the field.
And I still love to print! For me, one of my fine art photographs is not complete until it’s perfectly printed, matted, framed, and displayed on the wall. I use some of the best photographic equipment currently available, so my images are processed from very large files. Each one is meticulously post-processed. Viewing fine art images such as on this website or Facebook or Instagram is very fast and convenient, but you won't see the true beauty and nuances of the image until it’s been perfectly printed.
Today I enjoy perfecting images that draw the viewer's attention to a specific place in the photograph, typically one with intriguing qualities. I invite the viewer to pause and think a bit about what they are seeing. Perhaps they are at first a bit puzzled. What is this object? Where am I? How did it get there? After a moment, the viewer then starts to discover the surroundings, preferring to shroud these details in deep shadows. I seek out these types of unique seascapes and landscapes that I hope will evoke some emotions from the viewers by focusing their attention on these curious and perhaps unfamiliar objects discovered in nature’s unique surroundings."
Achievements and Awards include 1994 Sale of 'Column at Christchurch' to Boston Scientific during corporate display of 15 framed B&W silver halide photographs &
2005 - 2010 Display and sale of three B&W silver halide photographs to Lease Crutcher Lewis, Seattle Washington.
IMAGES FOR SALE-
Paper size is 11"H x 17" W
Canson or Hahnemuhle archival paper
$350 unframed
Limited edition of 15
Signed on back
Contact: steve@eirschelephotography.com
www.eirschelephotography.com
Will Nourse/Anticipation
Will Nourse/Center Stage
Will Nourse/In a Big Country
If viewing on a computer click on arrow to read about Will Nourse and continue to group exhibition
If viewing on a computer click on arrow to read about Will Nourse and continue to group exhibition
Will Nourse/In the Sky of a Million Stars
Will Nourse/Mysteries
Will Nourse/Only for a Moment
WILL NOURSE:
"My photography seeks to capture the sublime, even sacred, in nature.
It is surely not an accident that my photography has been informed by the art of the Hudson River School, William Turner, Vincent Van Gogh, Sol LeWitt, Thomas Moran, Albert Bierstadt, Mark Rothko, Piet Mondrian, George O’Keefe, and Ansel Adams, among others. In capturing images, primarily of landscapes, I seek out luminosity, its contrasts with shadow, and graphic design contours I see emerging from the landscape – these elements are where my eye lands and are where my photographic instincts live. And the stories I tell in my photographs harken to my readings as a young man of accounts of ambitious expeditions and mountaineering adventures (Ernest Shackleton, Heinrich Harrer). My expeditionary photography has woven these threads together and shapes my art.
My family traveled when I was young, and my father kept a photographic record of our trips (American West, sailing off the New England Coast). To my surprise, in my 40s, I would discover that my maternal grandfather had his own darkroom and photographed the Southwest. My own fascination with the landscape was further solidified by training and experiences I pursued as a mountaineer and ultra-marathoner.
My art has compelled me to travel and to reach very diverse and distant landscapes from my home in New England – the Alps, the Canadian Rockies, Iceland, Greenland, the Gobi Desert, and the American Southwest.
I long for landscapes that are mostly foreign to me and out of reach to many. I want to communicate -- through, with, and in my photographs – the sense of ‘Ilira’, an Inuit term which roughly translates to ‘nervous, fearful awe, such as you might feel watching a nearby polar’, the sense of the unpredictability and awesome power of nature. It is not just about recording images, but also a desire to render the profound feelings I experience in these landscapes. My photographs aspire to engage with the natural environment without the human form having a place in the image – the natural landscape is showcased on its own terms, and it speaks to life in harmony with the human race, to the beauty that has been preserved by the absence of the human handprint. This may be a naïve aspiration, and taken too far, can veer into mythologizing the ‘wilderness’, but nevertheless, I think it’s a worthwhile the attempt.
As much as I long for these places, there is a tension inherent in traveling to a place for photography (or any art, for that matter) – how can I connect deeply to a place I’ve never been and may only be visiting for a matter of hours? Can I make impactful images even when the weather isn’t producing optimal conditions? Am I doing more than making pretty pictures? Repeated visits to similar places help. Multiple trips to different deserts help to shorten the immersion time and have deepened the connection with those landscapes, as have trips to Iceland and Greenland, but stopping to 'smell the roses' as it were is as important on repeat visits as it is when going somewhere completely new.
These considerations are not purely academic. I carry inside a real personal tension – as an artist, I struggle. Questions weave in and out of my photographic travel and work. Am I contributing, with my travel to these pristine locations, and by the carbon footprint I create in doing so, to the very problem I am trying to solve? Is it enough to show that a place is beautiful? That it is in need of preservation? And/or by creating the image and a space to share the image, am I widening access and creating a broader and deeper awareness, hence furthering the cause of the planet’s preservation?
Photography is a response to my place in nature and an opportunity to illuminate how much we have lost and still have to lose."
Will Nourse is a landscape photographer known for using color and texture to bring his outdoor experiences to life.
He has been an avid photographer for more than twenty years, and his work reflects a lifetime of hiking, backpacking, climbing, skiing and sailing, all of which have given him a deep appreciation for the wonders of the natural world.
His work has been featured at the Paula Estey Gallery in Newburyport, MA and the Davis Orton Gallery in Hudson, NY and a series of images were featured in the first print edition of All About Photo Magazine in June, 2018. He has also been selected as a Featured Artist on the websites Light Space & Time, Fusion Art and Artsy Shark.
He has exhibited and won awards in juried shows at the Cambridge Art Association, the Newburyport Art Association (NAA), the Rockport Art Association, and various galleries across the country and is a past juried member of the Rockport Art Association, Marblehead Art Association and Cambridge Art Association.
He currently resides with his family in Lebanon, NH where he is planning his next trip to the wilderness.
IMAGES FOR SALE-
Only for a Moment- 10"H x 18" W
Archival paper
$200 unframed
Limited edition of 25
Signed on back
Mysteries - 12"H x 18" W
Archival paper
$200 unframed
Limited edition of 25
Signed on back
Center Stage - 12"H x 18" W
Archival paper
$200 unframed
Limited edition of 25
Signed on back
In a Big Country - 12"H x 18" W
Archival paper
$200 unframed
Limited edition of 25
Signed on back
In the Sky of a Million Stars - 18"H x 12" W
Archival paper
$200 unframed
Limited edition of 25
Signed on back
Anticipation - 12"H x 18" W
Archival paper
$200 unframed
Limited edition of 25
Signed on back
Contact: Will Nourse, william.nourse@gmail.com
www.willnourse.photography
www.instagram.com/willnoursephotography
____________________________
THE MINDFUL LANDSCAPE HOME:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer&previewMode=yes
FIRST PLACE:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/first-place-steve-eirschele-artifact----/1
SECOND PLACE:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/second-place-margo-geddes-pasture-hawthorn----/1
HONORABLE MENTIONS:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/honorable-mentions-jodie-hulden-lucent-matt-connors-in-the-beginning-was-the-dream-annie-lemoux-almost-nothing-john-santoni-concretion-laurel-anderson-white-sands----/1
BEST SERIES:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/best-series-holden-richards/1
EXHIBITION #1
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/exhibition-1/1
EXHIBITION #2
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/exhibition-2/1
EXHIBITION #3
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/exhibition-3/1
"My photography seeks to capture the sublime, even sacred, in nature.
It is surely not an accident that my photography has been informed by the art of the Hudson River School, William Turner, Vincent Van Gogh, Sol LeWitt, Thomas Moran, Albert Bierstadt, Mark Rothko, Piet Mondrian, George O’Keefe, and Ansel Adams, among others. In capturing images, primarily of landscapes, I seek out luminosity, its contrasts with shadow, and graphic design contours I see emerging from the landscape – these elements are where my eye lands and are where my photographic instincts live. And the stories I tell in my photographs harken to my readings as a young man of accounts of ambitious expeditions and mountaineering adventures (Ernest Shackleton, Heinrich Harrer). My expeditionary photography has woven these threads together and shapes my art.
My family traveled when I was young, and my father kept a photographic record of our trips (American West, sailing off the New England Coast). To my surprise, in my 40s, I would discover that my maternal grandfather had his own darkroom and photographed the Southwest. My own fascination with the landscape was further solidified by training and experiences I pursued as a mountaineer and ultra-marathoner.
My art has compelled me to travel and to reach very diverse and distant landscapes from my home in New England – the Alps, the Canadian Rockies, Iceland, Greenland, the Gobi Desert, and the American Southwest.
I long for landscapes that are mostly foreign to me and out of reach to many. I want to communicate -- through, with, and in my photographs – the sense of ‘Ilira’, an Inuit term which roughly translates to ‘nervous, fearful awe, such as you might feel watching a nearby polar’, the sense of the unpredictability and awesome power of nature. It is not just about recording images, but also a desire to render the profound feelings I experience in these landscapes. My photographs aspire to engage with the natural environment without the human form having a place in the image – the natural landscape is showcased on its own terms, and it speaks to life in harmony with the human race, to the beauty that has been preserved by the absence of the human handprint. This may be a naïve aspiration, and taken too far, can veer into mythologizing the ‘wilderness’, but nevertheless, I think it’s a worthwhile the attempt.
As much as I long for these places, there is a tension inherent in traveling to a place for photography (or any art, for that matter) – how can I connect deeply to a place I’ve never been and may only be visiting for a matter of hours? Can I make impactful images even when the weather isn’t producing optimal conditions? Am I doing more than making pretty pictures? Repeated visits to similar places help. Multiple trips to different deserts help to shorten the immersion time and have deepened the connection with those landscapes, as have trips to Iceland and Greenland, but stopping to 'smell the roses' as it were is as important on repeat visits as it is when going somewhere completely new.
These considerations are not purely academic. I carry inside a real personal tension – as an artist, I struggle. Questions weave in and out of my photographic travel and work. Am I contributing, with my travel to these pristine locations, and by the carbon footprint I create in doing so, to the very problem I am trying to solve? Is it enough to show that a place is beautiful? That it is in need of preservation? And/or by creating the image and a space to share the image, am I widening access and creating a broader and deeper awareness, hence furthering the cause of the planet’s preservation?
Photography is a response to my place in nature and an opportunity to illuminate how much we have lost and still have to lose."
Will Nourse is a landscape photographer known for using color and texture to bring his outdoor experiences to life.
He has been an avid photographer for more than twenty years, and his work reflects a lifetime of hiking, backpacking, climbing, skiing and sailing, all of which have given him a deep appreciation for the wonders of the natural world.
His work has been featured at the Paula Estey Gallery in Newburyport, MA and the Davis Orton Gallery in Hudson, NY and a series of images were featured in the first print edition of All About Photo Magazine in June, 2018. He has also been selected as a Featured Artist on the websites Light Space & Time, Fusion Art and Artsy Shark.
He has exhibited and won awards in juried shows at the Cambridge Art Association, the Newburyport Art Association (NAA), the Rockport Art Association, and various galleries across the country and is a past juried member of the Rockport Art Association, Marblehead Art Association and Cambridge Art Association.
He currently resides with his family in Lebanon, NH where he is planning his next trip to the wilderness.
IMAGES FOR SALE-
Only for a Moment- 10"H x 18" W
Archival paper
$200 unframed
Limited edition of 25
Signed on back
Mysteries - 12"H x 18" W
Archival paper
$200 unframed
Limited edition of 25
Signed on back
Center Stage - 12"H x 18" W
Archival paper
$200 unframed
Limited edition of 25
Signed on back
In a Big Country - 12"H x 18" W
Archival paper
$200 unframed
Limited edition of 25
Signed on back
In the Sky of a Million Stars - 18"H x 12" W
Archival paper
$200 unframed
Limited edition of 25
Signed on back
Anticipation - 12"H x 18" W
Archival paper
$200 unframed
Limited edition of 25
Signed on back
Contact: Will Nourse, william.nourse@gmail.com
www.willnourse.photography
www.instagram.com/willnoursephotography
____________________________
THE MINDFUL LANDSCAPE HOME:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer&previewMode=yes
FIRST PLACE:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/first-place-steve-eirschele-artifact----/1
SECOND PLACE:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/second-place-margo-geddes-pasture-hawthorn----/1
HONORABLE MENTIONS:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/honorable-mentions-jodie-hulden-lucent-matt-connors-in-the-beginning-was-the-dream-annie-lemoux-almost-nothing-john-santoni-concretion-laurel-anderson-white-sands----/1
BEST SERIES:
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/best-series-holden-richards/1
EXHIBITION #1
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/exhibition-1/1
EXHIBITION #2
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/exhibition-2/1
EXHIBITION #3
https://laphotocurator.com/a-mindful-landscape-donna-cosentino-karen-hymer/exhibition-3/1
