Fullmoon@St. Martin, 2001
Courtesy of the artist | Galerie Max Hetzler, Berlin
Collection
C-print mounted on aluminum
129,4 x 128,7 x 3,6 cm
Fullmoon@St. Martin is part of the first series of moonlit photographs where Almond revisited the locations of well-known paintings by Turner, Constable and Cézanne – views of Chamonix in the French Alps, Flatford in Suffolk and Mont St. Victoire in Provence.
His images are a contemporary response to these sites.
The artist photographed scenes at night during full moon using 15-minute exposures. This meant the camera was able to light the scene, exposing the details hidden by darkness from the human eye. The resulting incandescent images make night seem as day, revealing the landscapes we would otherwise miss. Each frame allows the experience of time to be intensified and investigates the language of light. Turner often painted dusk and dawn, the moments when day and night merged. Here Almond discovers one deep within the other. (Soraya Rodriguez).
* 1971 Wigan, U.K. | Living and working in London, U.K.
129,4 x 128,7 x 3,6 cm
Fullmoon@St. Martin is part of the first series of moonlit photographs where Almond revisited the locations of well-known paintings by Turner, Constable and Cézanne – views of Chamonix in the French Alps, Flatford in Suffolk and Mont St. Victoire in Provence.
His images are a contemporary response to these sites.
The artist photographed scenes at night during full moon using 15-minute exposures. This meant the camera was able to light the scene, exposing the details hidden by darkness from the human eye. The resulting incandescent images make night seem as day, revealing the landscapes we would otherwise miss. Each frame allows the experience of time to be intensified and investigates the language of light. Turner often painted dusk and dawn, the moments when day and night merged. Here Almond discovers one deep within the other. (Soraya Rodriguez).
* 1971 Wigan, U.K. | Living and working in London, U.K.