This may not be one for the purists but the colours, pattern and energy appeal to me.
Monthly Archives: August 2012
A quay or harbour can be an plentiful source for a photographer with an interest shapes, patterns, textures etc as the selection below illustrate:
The beach at low tide is a treasure trove for the photographer. Along the high tide line, fragments of seaweed form natural, abstract patterns. This is nature ‘doodling’!
In the images below nothing has been added and nothing taken away, other than the sand! Removing the texture of the sand gives clarity to the design. A little colour saturation has sometimes been used for artistic purposes.
I like this picture, a lot! In fact, it is one of my favourites. And yet it was created from a mistake. I was actually trying to photograph a cobweb, but my little compact was set on Auto and was unable to detect the web.
I tried every Photoshop trick I know (that doesn’t take long!) in an attempt to ‘find the web’, all to no avail. But then I realised I had something far more interesting. I zoomed in on part of the image and this abstract was the result.
So what attracted me? Why do I find this picture so satisfying?
The obvious magnet was the strong contrast between the blues and the golds and the patterns they created. There seemed to be a tension between the two – the calm of the blue and the energy of the gold. It was something akin to night time on a camp site at a pop festival!
I also felt a spatial awareness – a sense of environment. I could physically move around.
The association with music intrigued me. I wondered what music might be used to accompany the picture – in the manner of film music – and acknowledged that the viewer’s perception of the picture could be influenced by the choice of music. For example, Debussy’s Clair de lune would reinforce the mood of night time stillness; the sinister, threatening mood of an impending attack on an enemy could be suggested by an extract from Stravinsky’s Rite of Spring; a gradual change from the one mood to the other by using Ravel’s Bolero, and so on.
By definition an abstract image does not give specific answers. It invites the viewer to use whatever connections, experiences or strategies he/she finds helpful. I’ve suggested a few – pattern, contrast, colour, spatial awareness, sense of environment, sound, association with music, emotional response. Above all, abstracts don’t have to tell a story.
[Use the link to read the responses of Elena and Gigi to the original post: Abstract 128]
I enjoy the freshness of the greens, the crispness of the lines and the overall design effect of this random, natural pattern.
See also Lilac leaves pattern
Patterns, patterns everywhere. As we relaxed over a cup of coffee I was attracted by the lichen and moss on the old, weathered tiled roof on the opposite side of the street. If a roof can be said to have character, here was a perfect example!
This picture was taken in the garden today: cotinus, lavatera and crocosmia.
See also Crocosmia
For centuries following the invasions by the French and Spanish, the church fell into a state of serious neglect and disrepair. The seventeenth century diarist John Evelyn described the ‘forlorn ruins’, and in the early nineteenth century it was described as ‘almost unfit for public worship. The restoration of the church to its present beautiful condition has almost all been completed within the last 150 years.
Because the church originally formed part (the chancel) of a cathedral-size building, its proportions are consistent with that initial intent. Most imposing of all are the stained glass windows. The windows were designed by Douglas Strachan (1875-1950) and were dedicated by the Archbishop of Canterbury in 1933.
Click images to enlarge
In the bottom right of the above window, Edward I examines the new church.
In the north and south walls are effigies which, it is believed, were retrieved from the church in Old Winchelsea before it was completely submerged. They would therefore be more than 700 years old.
The small, sedate village of Winchelsea is the offspring of what was once a significant port and essential component of the line of ports defending the south coast of England against invasions by the French and Spanish. They were identified as the Cinque Ports. Although Rye and Winchelsea were not included in the original five, they became Associate Ports of Hastings to strengthen that port’s resistance.
But during the thirteenth century disaster struck, twice. In 1250 Old Winchelsea was partly submerged by excessively high tides and in 1287 the town was totally destroyed by further flooding, probably due to subterranean subsidence. At the same time the estuary silted up. Winchelsea’s days were done.
But King Edward I wasted no time in rebuilding Winchelsea, this time on higher ground a mile or so inland. The king ordered plans to be drawn using a grid lay-out, similar to that of the bastides in France. At the heart there would be a splendid church, built to the highest standards of Gothic design and craftsmanship. Work on the church began in 1288.
It is obvious from these pictures that the church as it is now is not as it was originally planned. Three theories have gained support: (i) that the church was never completed (although excavations in the twentieth century indicate that a nave did once exist); (ii) that part of the church was deliberately demolished because of the cost of maintenance and upkeep; (iii) that the destruction was caused by the invading French in 1360 and then, twenty years later, by the Spanish. Local legend prefers the last of these three explanations although there is little evidence to confirm the belief.
Footnote The comedian ‘Spike’ Milligan is buried in this churchyard. He had once quipped that on his gravestone he wanted the epitaph ‘I told you I was ill!’ Sadly, the diocese officials felt that this was inappropriate. But a compromise was reached. It was translated into Gaelic, accompanied by the English words ‘Love, Light and Peace.’!!