Pieter Bruegel (revisited)
This is a departure from my usual work, but I thought you might enjoy this adaptation of Pieter Bruegel’s famous painting ‘The Peasant Wedding’.
Gap of Dunloe, Black & White Lustre PrintFuji C-Type Lustre 20 x 16 inches
Please email for different sizes firstname.lastname@example.org
Swimming off the beach just beyond Gyles’ Quay is no longer considered safe. The truth is, it never was safe. The moment you enter the water from what appears to be a gentle gradient, the shore drops off steeply into open sea and powerful undercurrents hold sway. When we were kids we sometimes swam here, with no understanding or even awareness of the danger. Unbelievable, I wouldn’t even dip my toe in today……..the wisdom of age.
Gyles’ Quay is an isolated stretch of beach located 1 km south of the R173/R175 road in County Louth, Ireland. It was named after Ross Gyles who built a wood structure there in 1780. It was later rebuilt in stone in 1824 and survives to this day.
This was taken looking towards the Temple Bar district on the left back of the river.
Just completed setting up the exhibition last night at the Locker Cafe. Many thanks to John, the owner of the Locker art cafe for his assistance with the hanging process. I will visit the cafe over the coming weekend when it is busy and full of customers… Maybe take a video to give you an idea of the overall layout and lively atmosphere. Don’t forget, if you are in town, take a break from your shopping, have a coffee, a bite to eat…enjoy the artwork.
These are the vast open landscapes of the Cambridgeshire Fenlands that influence my paintings. This image was taken with a Fuji X100F a couple of days ago when the sky was particularly dramatic. I have carried out some basic editing – mainly tonal adjustments and sharpening – using Silver Efex Pro2. I have to say the Fuji is a great little camera, easy to take with you and it produces really good jpg’s with the Acros settings. You can’t really tell from the photograph but it was an incredibly blustery day out in the Fens….the clouds were racing across the sky. Really should have used a tripod and a long exposure to capture the movement; maybe next time.
If you are visiting Ely in Cambridgeshire do come along to the Old Fire Engine House to see an exhibition of recent paintings by myself, Paul Janssens and Caroline Foward. The exhibition is called EXPLORE and the preview night is on the 3rd October, 6 – 8pm. We would love to see you there.
Saint Bartholomew (Matthew 10:3, Mark 3:18, Luke 6:14, Acts 1:13) never set foot in Milan but his statue has been the talk of the town for the past four and a half centuries. Just ask Mark Twain. Then again, the tradition of Bartholomew, which purports that he was skinned alive and beheaded in Albanopolis, Armenia (modern-day Turkey), is the stuff of legends. Bartholomew, now the patron saint of tanners, is usually depicted with a large knife and holding his own skin.
In many ways this image reveals the power of compact modern digital cameras to capture detail. When I took this shot of the famous statue of St Bartholomew in the Milan Duomo I was aware of the father and daughter figures to the right of the frame. However, I didn’t fully appreciate the significance of their body language until I edited the image later.
This image was taken a couple of weeks ago in the grounds of Anglesey Abbey near Cambridge. For those who are interested, I used a Canon 5D2 with a 17-40 lens; the camera was on a tripod and I took 3 bracketed exposures to capture a wider range of tonal values. I only needed 2 of the files to achieve the balance I wanted between the sky and the land. The final effect was created with at least 2 additional texture layers, desaturation and selective sharpening, enhancing the illustrative quality.
Each image in this Fenland Landscape collection has been created using a series of texture layers with additional editing in Adobe Lightroom.
‘Even here, we go carefully, for cartography itself is not a neutral activity. The drawing of maps is full of colonial echoes. The civilised eye seeks to view the world from above, as something we can stand over and survey. The Uncivilised writer knows the world is, rather, something we are enmeshed in — a patchwork and a framework of places, experiences, sights, smells, sounds. Maps can lead, but can also mislead. Our maps must be the kind sketched in the dust with a stick, washed away by the next rain. They can be read only by those who ask to see them, and they cannot be bought’.