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Wednesday, December 17, 2014

The Dusk Series,


More images in the between-day-and-night series, as the colors of fall shade into those of winter. I've experimented with printing, and found a wonderful resource, Evolv Art Printing, in Easthampton, Mass, which is able to make gorgeous archival pigment prints from these images (if I say so myself).
They are now for sale. 

These are straightforward digital images shot on my Olympus DSLR camera--nothing's been distorted or added in photoshop. I just open the shutter and move the camera in low light. By using the camera to “document” nature in a state of temporal and spatial mutability, the images destabilize our expectations, rendering the intangible and reordering our relationship to what we call “landscape." 

Thursday, October 9, 2014

The Dusk Series

 I took these images at the MacDowell Art Colony in Peterborough, New Hampshire. I was there to write, which I did, working most of the day and coming up for air around 5pm, an hour and a half before dinner. It was then that I escaped from my studio to go for a walk. At that point, though, in the woods, it was already beginning to grow dark. I initially had a hard time shooting anything in focus, which drove me nuts. But then I thought, the hell with it, I'll exaggerate the lack of focus. I began moving the camera, and liked the effects. So I eventually opened the shutter, focused on a point of light or a patch of color, and jerked the camera around during the exposure. I looked like a bobble-head on speed or some kind of strange wood-pecker, standing in the dusk with my camera on the periphery of the woods. It sounds odd, but it was a meditative and creative exercise. Something like discovery.
I loved it.

I found that when I moved the camera, the lens "painted" with both light and color, in streaks, sparks, and glows. The results looked like pastels, like no images I've made with a camera before. I became obsessed, and began going out for twilight walks every night.

While these images aren't petrographs, they investigate the same ground: the liminal spaces between seen and intuited, light and dark, day and night, "focusing" on moments of transition rather than stability. Here's a sample of the images...

Note: This will be the first installment in an image-series based on walks I plan to take at dusk at different times of year, in different parts of the planet. Stay tuned.

Thanks for looking! -- Pam

Friday, June 13, 2014

Vessels: Land and Sea

This beautiful vessel is from Marged Pendrell's "Traces of Walks" series, which is a subset of her installation entitled "Vessels: Land and Sea." The series gathers physical evidence--in this case sand--to evoke memories of walks taken by the artist and her friends on journeys in Wales and abroad. It's made of collected sand and paper pulp; as Marged writes, "An object or material is collected as a connection to a place. It marks the quality of time passed, the essence of the place and the memory of the experience."

I found Marged's work at the Gas Gallery in Aberystwyth, Wales, and purchased the above vessel. I was struck by the strength of the her work and its beautiful, concise way of evoking place, physical activity, and memory through the physical shape of the vessel and the use of paper pulp; like books, it represents our hope of holding and containing the past. I love the fact that this vessel is filled with the stuff of itself. We are our memories.

To see more of Marged's work please visit

Thursday, December 5, 2013

Hiraeth in Northampton: An Exploration of Longing


Deep thanks to Mike for filming the intallation, and to Cassandra, Karen, and Bill for paticipating. And my thanks as well to everyone who attended!

A graphic novel based on the installation will follow...

Monday, November 11, 2013

Images from Opening Night 

of the installation

"Hiraeth in Northampton: An Exploration of Longing"

The installation will be up at Historic Northampton Museum (46 Bridge St., in Northampton, MA) until 6 December, 2013. The images printed on old windows--salvaged from local farmhouses--are from Bridge Street Cemetery in Northampton. They're all examples of beautiful, inventive, forgotten 18th century stone carvings, from the death's heads carved early in the century to more portrait-like soul effigies carved toward the end.

My hope was to initiate a conversation between past residents of the city and current ones, by inviting visitors to choose a window and stand behind it, and also to choose a line of text as a caption. The texts come from epitaphs on the gravestones--such as "Earth's highest station ends in 'here he lies'," pictured above--and also lines from poetry and discussions of "hiraeth," which is a Welsh word implying an unrequited longing: something along the lines of "The Presence of Absence," also pictured above.

Opening night was terrific: many people participated, and I thank you, one and all. If you're anywhere near Northampton, please go and have your picture taken!