Follow by Email

Sunday, March 1, 2015

My essay Erosion--featured in the artist's book AfterShadows: A Grand Canyon Narrative--
has just been published in the journal Lumina. Here's the link:

http://luminajournal.com/lumina-online-literary-journal/

Enjoy Lumina! It's a terrific publication.



Monday, January 12, 2015

AfterShadows
A Grand Canyon Narrative

Finally! I've been threatening to make an artist's book from the petrograph images
I created at the Grand Canyon--and I did at last. 

Hosannah!

But I didn't do it alone. Amy Borezo, of Shelter Bookworks in Orange, Mass, built a beautiful
case and cover for my 29 images and essay entitled "Erosion," which frames the well of
images in four segments. Each accordion-pleated segment slips out of its mylar envelope to 
be read on its own, or in accordance with the other sections of text. The driving idea is that because the Grand Canyon is public and accessible to all, we'd attempt to make the book as inexpensive and accessible as we could. It's nearly impossible to make an artist's book for $50 or under, but Amy and I kept the materials simple and achieved our goal.

AfterShadows is in an edition of 50 copies, each of which costs $50. Thanks for following
the progress, from 2011 until now! Here are some images of the book.










Wednesday, December 17, 2014

The Dusk Series,

Northampton


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. 
Thanks.























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 www.axisweb.org/artist/margedpendrell