A
double-exposed composition creating a dreamy, delicate image that largely
appears to be a feminine torso. It is integrated in a deliberate manner with a
lilac, or similar flower, drawing attention to and repeating the soft, tender
texture of the figures skin and hair. It likely describes the sensitivity of
her character as well. |
This is a platinum and palladium print. The subject is somewhat indistinct, but a human form merged with a flower are easily identified. Each subject alone would take some effort to make interesting, however the way Gray has layered them together not only make both beautiful, but reflect the connection mankind undeniably has with the natural world.
A mix of established, indistinct and implied shapes is created. The primary elements of visual communication are value and texture. Texture is used to great effect in this work; the picture plane nearly glows with tenderness. The surrealist nature of this work, and the heavy use of elemental interpenetration, make any spatial organization ambiguous. However, value is well-established through a left-and-downward light source on the figure. Adjustments in detail support the breath-close position of the figure; sharpness (or the lack of it) applies to the textures as well.
Pictorial balance is appropriately established to not distract from the implied textural sensation that is seamlessly created. While there are a number of well-defined edges in this composition, it is dominated by a sense of softness, flowing organic lines and fleshy shapes. Value is built to balanced effect. The overall sensitivity of the work dilutes the “speed” of movement to a pulsing crawl along the edges and directional forces.
The viewer is intimately close to the subject; the sensitive rendering connects the sensation of sight to touch. At first glance this work is fluid and indistinct; upon further study, the subjects become more defined in the mind through implication. Gray’s ability to blur the component of subject and crystalize content is more than remarkable. Visual beauty and an undeniable emotional reaction from the viewer result in a truly unified work of art.
This is a platinum and palladium print. The subject is somewhat indistinct, but a human form merged with a flower are easily identified. Each subject alone would take some effort to make interesting, however the way Gray has layered them together not only make both beautiful, but reflect the connection mankind undeniably has with the natural world.
A mix of established, indistinct and implied shapes is created. The primary elements of visual communication are value and texture. Texture is used to great effect in this work; the picture plane nearly glows with tenderness. The surrealist nature of this work, and the heavy use of elemental interpenetration, make any spatial organization ambiguous. However, value is well-established through a left-and-downward light source on the figure. Adjustments in detail support the breath-close position of the figure; sharpness (or the lack of it) applies to the textures as well.
Pictorial balance is appropriately established to not distract from the implied textural sensation that is seamlessly created. While there are a number of well-defined edges in this composition, it is dominated by a sense of softness, flowing organic lines and fleshy shapes. Value is built to balanced effect. The overall sensitivity of the work dilutes the “speed” of movement to a pulsing crawl along the edges and directional forces.
The viewer is intimately close to the subject; the sensitive rendering connects the sensation of sight to touch. At first glance this work is fluid and indistinct; upon further study, the subjects become more defined in the mind through implication. Gray’s ability to blur the component of subject and crystalize content is more than remarkable. Visual beauty and an undeniable emotional reaction from the viewer result in a truly unified work of art.
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