Last year there was a big exposition here in Paris in le jardin des plantes. I missed it. It was reportedly a nice show of Sarah Moon's work.
I was disappointed until I realized it wasn't her work that interested me. The artist's name I'd confused should have been Beth Moon. Two completely different countries. Two very different cultures. Two styles separated by a deep gulf. I felt silly to learn I'd mixed the two names. Growing old sucks.
I like simplicity and used to like Michael Kenna's 11x11inch silver prints. His images reminded me of the Weston Family work and Good 'Ol St. Ansel's photography. As time passed I realized his work didn't really speak to me as deeply as others do. It's likely related to the fact I've come to prefer the pictorialist approach to photography over literalist landscape or documentary approaches.
I'd first encountered Beth Moon's work in LensWork Magazine a number of years ago. I was thumbing through the issue and stopped the moment I came across the first image of the series. There was nothing to do but drink in the image, it's softness, it's light, it's powerful composition, it's beautiful realization.
She prints in platinum/palladium in a fairly large format. While the medium enhances the presentation of her ideas, the high quality printing of LensWork left little to be desired. Everything they shared was drop-dead gorgeous.
If ever I were to give up the complex, heavily layered, highly textured concepts and subjects I currently work in, my own approach would very likely shift toward the luminous, soft simplicity of Beth's.
Her work is a real inspiration.
I was disappointed until I realized it wasn't her work that interested me. The artist's name I'd confused should have been Beth Moon. Two completely different countries. Two very different cultures. Two styles separated by a deep gulf. I felt silly to learn I'd mixed the two names. Growing old sucks.
I like simplicity and used to like Michael Kenna's 11x11inch silver prints. His images reminded me of the Weston Family work and Good 'Ol St. Ansel's photography. As time passed I realized his work didn't really speak to me as deeply as others do. It's likely related to the fact I've come to prefer the pictorialist approach to photography over literalist landscape or documentary approaches.
I'd first encountered Beth Moon's work in LensWork Magazine a number of years ago. I was thumbing through the issue and stopped the moment I came across the first image of the series. There was nothing to do but drink in the image, it's softness, it's light, it's powerful composition, it's beautiful realization.
She prints in platinum/palladium in a fairly large format. While the medium enhances the presentation of her ideas, the high quality printing of LensWork left little to be desired. Everything they shared was drop-dead gorgeous.
If ever I were to give up the complex, heavily layered, highly textured concepts and subjects I currently work in, my own approach would very likely shift toward the luminous, soft simplicity of Beth's.
Her work is a real inspiration.
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