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- Koi dance
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- Visual Interlude
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- SAILING
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- Unfurling in green
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- Abandonned Truck Cab : Natures Abstracts
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2019
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- Flutterby
- Sunday morning coffee
- in the doorway
- at the edge
- Chinese Herbs
- Double Entendre
- First snows
- Gage Park Diner
- Remebrance day 2019
- Apple Harvest
- Descente a la plage
- Farmers Market in orange
- The superior aesthetics of loitering
- Salmon run 2019
- Morgan 44 -8.2
- Summers End
- Migration
- ART vs TECH as GAN
- Order on line
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- Honda Indy Toronto 2019
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- SPIRO
- Aviary 346
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2018
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- Sand Graffiti
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- Grand River
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- The decision
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- Vatican Fuschia
- RBG : In the river valley
- Bullrushes
- Spur Line
- Abstract 4
- Rural Landscape
- Sunflower #12
- Magical Blues
- Red Balloon
- Lines
- Water: B & W
- Horizon Slip
- Gravity Vortex
- Gears
- Retail narrative forms
- Thompsonian snowbirds
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2017
>
- Digital Dysfunction
- Autumn Boreal Forest
- Suspended bridge
- Autumn PeeGate
- Food colour systems
- Waupoos harvest, fond fonce
- Waupoos harvest, ground in white
- Stringed instrument origins
- Caterpillar yoga
- South Garden Tinkerbells
- Side yard garden shed
- If light dissipates
- Confessional
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- Time Drift 17
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- Colour Juxtapositoins
- RBG: Studies of grounds in green and blue.
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2016
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- Winter Light
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- Memory as Patina
- The Apiarists
- Reading
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- Predawn Garden
- the gatherings
- Berger
- Migratory feeding
- Tulip 2016
- Bird furniture
- The bee keepers
- The Beekeepers 168
- Urban Waterfront Series
- Winter Perch
- Marsh Spring
- Found in Translations
- Disentangling the tangled garden
- Education lights a fire
- Jeremiah
- Teal Pond
- Julian Barnes
- Archimedes dreaming
- Bovine
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2015
>
- Breakaway
- Rabble of ravens 1
- Vortex of difference
- Reading the trail
- The bench #2
- The journey begins
- On frozen pond : (post season)
- Colorflage strategies
- Form by any other color
- Redux A
- Overhead Perch
- Fuschia
- Study in white 2
- Rex head
- Mechanosaurus
- Sideyard skull
- Art begets
- Backyard Daffodil Still Life
- Propensity of meaning
- Pre "I-Drive" Era
- Annie's Sister - redux 1
- Listening to images.
- Figure Skate
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2014
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- Pre GoogleDriver -Release History
- IBM portrait studies #5
- this notion
- Emerald Grotto
- Ancient Byways
- Autumn Cabbage
- Off Stockdale Road, ...
- At the field edge
- Under the rose petals
- Composition in Fasteners
- Periods of transition
- Black Sunglasses
- Lake Ontario - March
- Lead positioning
- Hope
- Mobiusesque push
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- Triple salchow
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2013
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- Dreams
- This kiss
- juxtaposition in grey and white
- Feathers and woolen fields
- Red Figure
- Shaman
- Shaman #2
- The pilot school
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- Blue collar
- The shaman's light
- SIlent mooring
- Catnap
- Purple Jacket
- Golden ground
- County cornfield in spring
- Horizon-scapes
- Painting only begins with vision
- The advent of jewelry
- The raku apprentice
- Shadow cinema
- Spring Horizons
- Patina & Portaiture
- Winters last waltz?
- Return Migration
- Christmas Snowfall
- Release
- Pursuit and reading meaning.
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2012
>
- Considerations on augmented paintings
- West of Amherst Island
- December Cadmium Orange
- Young turkey
- Parks Studio Road Crossing
- Beside the orchard
- Heirlooms and contemporary
- Art shrink wrapped
- Poppy 11.11
- The nephews funeral 3
- Attending to what is
- Upon a bed of gravel
- Among the hydro lines
- Interest in the interested
- Homo Collectus
- Brightons Mute Swans
- Triangulation & pointing
- Commonalities & distinctions
- The paintings never finished
- Derivatives and reflections
- The stone Herald
- Eyeshadow in gold
- The boat (Belize)
- Saint Patricks
- Side studio door
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Upon a bed of gravel
Digital images 2012
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Meandering the side roads, there is aiways something to pique your interest. Two turtles birthing, which should tell me something of motherhood, but instead makes me wonder again how high should a painting be hung? For it seems more often then not, that the images that grab me the most, are those that allow me to comtemplate them at their level. Here, on the sides of two different roads, down on the gravel with the birthing (?) of a clutch of eggs.
It seems with the advent of portable artworks, physically separarted from "their" architecture, the norm for painting placement has become vertical on a wall, at about whatever is considered the standard norm for eyeheight.... and if that is so, then has this moving of the painting (from integral stuccoed surfaces) to an eye to eye viewing, prescribed and shifted paintings subject matter? Is the portable painting a media that can only say certain things? Not that that would necessarily be bad, one could argue the contrary that previously mural paintings in stucco could only occur in public buildings with the given financial resources and so could only be monumental in their impact and import... I just wonder, how high should the painting be hung? Sorry for the intermittent posts here, the firefly studio has been getting a new skylight and roof over the last bit. |
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