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FALLEN Wells 22 Triptych 2 Photograph - Limited Edition of 10

Geoff Dunlop

United Kingdom

Photography, Photography on Paper

Size: 44.1 W x 19.7 H x 0.4 D in

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About The Artwork

A tree crashes down in a storm. Foresters come with saws to slice the tree into manageable sections. In doing so they reveal evidence of the tree's century long life. No doubt, there are people who can interpret these marks and patches of colour and texture, as if they were translating a language - discovering a biography. This aroboreal language is crosshatched with manmade marks. Few trees in modern times can escape human intervention. Untouched wildness is a thing of the past. Now we must learn the consequences of our actions. Thomas Berry, the cultural historian and philosopher of nature, wrote this inspirational text: "We are in trouble because we do not have a good story. We are between stories. The old story ... is no longer effective. Yet we have not learned "the new story". We are talking only to ourselves. We are not talking to the rivers, we are not listening to the wind and stars. We have broken the great conversation. By breaking that conversation we have shattered the universe. All the disasters that are happening now are a consequence of that spiritual 'autism'. "The universe story is the quintessence of reality. We perceive the story. We put it in our language, the birds put it in theirs, and the trees put it in theirs. We can read the story of the universe in the trees. Everything tells the story of the universe. The winds tell the story, literally, not just imaginatively. The story has its imprint everywhere, and that is why it is so important to know the story. If you do not know the story, in a sense you do not know yourself; you do not know anything."

Details & Dimensions

Photography:Photography on Paper

Artist Produced Limited Edition of:10

Size:44.1 W x 19.7 H x 0.4 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

ARTIST CURATOR. I work as an artist curator, minus the hyphen. I attempt to balance both roles: seeking the concentration and focus of making images, objects and installations that are directed at the individual viewer; embracing the collaborative and enabling task of shaping exhibitions and events that are created in the company of others. As an artist, I work invariably with a high definition camera, but my intention is to reach beyond the image - towards the making of an effective and affective object, perhaps even an experience. Inevitably, this leads me to explore both materials and the immaterial, scale and the use of space. As well printing on art paper, I print onto aluminium, acetate and fabric, especially linen and cotton. When appropriate, I like to let the prints hang freely, unmounted and unframed, so they can respond reflexively to movements in the air. And I use translucency to animate the prints further, as they alter their appearance in response to changes in the light. Although these frequently large prints are at the centre of my output, recent exhibitions have included video projections, sound installations and handmade books, or booklike objects. Making books as been an interest for a long time, but now it is moving towards the centre of my output, as a complement to the translucent prints As a curator, I seek to create exhibitions that both generate and contribute to conversations, that cross boundaries and widen horizons. In addition to visual artists, my exhibitions often include contributions from performers, using movement, music, words and ideas. At present I am getting great pleasure from working with poets. I think poetry and visual art -both of them elusive and allusive media- can become great companions.

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