IAIN MACHELL   Drawings and Sculpture
New Photos-PanoramasJUST LOOKINGPlatte Clove 1Platte Clove 2Platte Clove 3Platte Clove 4Platte Clove 5Platte Clove 6Platte Clove 7Platte Clove 8Platte Clove 9Platte Clove 10Platte Clove 11Platte Clove 12Platte Clove 13Platte Clove 14Platte Clove 15Platte Clove 16Platte Clove 17Platte Clove 18Platte Clove 19Platte Clove 20Platte Clove 21Platte Clove 22Platte Clove 23Platte Clove 24Platte Clove 25Platte Clove 26Platte Clove 27Platte Clove 28Platte Clove 29Platte Clove 30Platte Clove 31Platte Clove 32Platte Clove 33Platte Clove 34Platte Clove 35Platte Clove 36
Photos & Video
I use my camera like a sketchbook, but once in a while a photographic idea steps forward and says "I'm done, leave me alone".
How do I know that I see what you can see? Unlike the camera, the human eye selects, sorts and interprets in split seconds. There is an after-effect, or after-image, every time your eye is activated and challenged with new visual information. This is a visual residue we are not usually aware of, a visual and emotional leftover that stays with us whether we are aware of it or not. Clarity of vision is in doubt. Photographic reality is a frozen moment and only one kind of viewing.
The image itself is an illusion- 3-Dimensional infinity is flattened onto a 2-Dimensional surface and the integrity of that illusion is dissolving.
My purpose for this photographic investigation stems from:
1. An attempt to use the camera as a drawing tool, as an extension of my hand, only instead of pencil marking paper this is a machine manipulating light .
2. A passion to explore the extremes of landscape: immediate/ timeless, liquid/ solid, hard/ soft, wet/ dry, light/ dark, growing/ decaying, vast/ tiny, pretty/ ugly, threatening/ threatened.
3. A visual reaction to the idyllic, romanticized landscape paintings of the Hudson River School. Platte Clove was a favourite location of these artists and I chose it deliberately to rattle their cages.
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