Landing Cliffs

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I have a review with Sarah and Paul to discuss which pieces I should put in the show, and decide unquestionably on the gas tower print, but I get the distinct sense that the other works I have created fall short of the mark. With a critical eye I can to some extent see why, on reflection the feel part of the journey, unfinished thoughts and stumbles on the way to work like the gas tower. I am pleased with my final selection though – which is to include the gas tower alongside the motorway triptych. It feels like such a small proportion of the work to show, but at the same time I know these are the strongest pieces I have produced and so perfectly encapsulate The Quiet Earth concept.

Printing this week, I look right back to my Asbru photography and two images from the black beach that I think will work beautifully as a diptych. I have printed one of the images earlier in the year as a part of a failed mini-print experiment, so I am confident of the draw of the image, if not the narrative that surrounds it. Technically the print goes well – a relief after last week’s dramas. The only element I am not entirely happy with is and assume is an error in the screen turns out to be a detail in the original image, which weirdly now I can only see as a mistake. I like this diptych, but I also feel I need to exclude it from the body of work that would make up The Quiet Earth. It has an otherness that is worthy of further exploration, but it lacks the sense of a human place abandoned that is critical to my quiet earth narrative, perhaps also it lacks a sense of hope that I feel permeates the other pieces, these looming black towers harbour only foreboding and unease.

In the end I feel much happier with this set of images once I cut the paper in two and let them sit as separate images (they were original printed as a single sheet). I suspect I will revisit the print again in a few months’ time when I have forgotten its imperfections and feel very differently about it.

WeArePlaster