Tag Archives: England

Taking Time: Looking at things differently

This post originally appeared as a feature article in the March 2016 issue of my newsletter, Off the Easel.

Patterns, St Tabitha'sThe Purple SpiralCloud Planet with Jack-o-Lantern Face, Corrimony Cairn

“I decided that if I could paint that flower in a huge scale, you could not ignore its beauty.” (Georgia O’Keeffe)

When I saw the following tweet by David Borthwick (@BorthwickDave), I was delighted:

“Turn your back on sunset: watch what the trees do when you are looking the other way.”

His eloquent words were accompanied by a lovely shot of dancing limbs painted deep rose and burnt orange by the fading light. I have noticed this myself many times – trees facing the closing day are set aflame by the retreating sun.

Seeing things differently is a major component of the artist’s mental toolbox. Sometimes that means looking in an altogether different direction, or, like Georgia O’Keefe, taking the time to see things on behalf of others — which is perhaps as good a definition of the role of artist as any other.

“Nobody sees a flower – really – it is so small it takes time – we haven’t time – and to see takes time, like to have a friend takes time.” (Georgia O’Keeffe)

When I was in Painswick, Gloucestershire, in the famed Cotswolds region of England, I made a discovery. Before our arrival, I had not heard of a holy well there, but as an enthusiast, I knew that wells could reveal their whereabouts via street names. The city of Wells in Somerset, home to the famed cathedral, is itself named for the presence of three wells. A bit of code breaking or translation is sometimes involved – it helps to know that Tobar is Irish and Scottish Gaelic for well or spring, for example.

When I saw “Tibbiwell Lane” on the map at the bed and breakfast, I was eager for the quest.

We found the modest well wedged between the lane and a retaining wall. The clear, refreshing water flowed from a stone channel into a small, shallow pool just below. A gentleman who lived above was out tending his garden, and he showed us an inscribed stone on the wall: Saint Tabitha, the origin of the “Tibbi” part of Tibbiwell Lane. This well was dedicated to her.

At first, I photographed the entire well in a more documentary fashion, showing it in its narrow space. As I got closer and started looking for more unique views and angles, however, I began to capture what I felt were more artistically successful images.

The Purple Spiral and Patterns, St Tabitha’s were two such works from this shoot. Focusing on the way the bright light fragmented the leaves below the surface or on the spiraled snail shells from the well’s encased inhabitants led me to discover more than just the small well itself.

Had I been satisfied with my initial photos and not taken the time to look closer, I would not have been so fully rewarded.

Another of my photographs, Cloud Planet with Jack-o-Lantern Face, Corrimony Cairn is perhaps a more extreme example of my desire to photograph the essence of a location beyond the appearance of the outer whole. I realize now that by lying down in the center of the Scottish cairn and looking up at the blue sky peeking through the clouds where the capstone had been removed, I aimed to capture the substance of the place as I experienced it.

I also now utilize this philosophy of seeing when installing certain paintings. My ceiling boss paintings are designed to hang from and parallel to the ceiling. When developing these works, I was inspired by the medieval carved wooden ceiling bosses in St. Andrews Church in South Tawton, Dartmoor, England. I designed this installation to give a viewer the same sense of place as I had when visiting the church. At the opening reception when I debuted these works, it amazed me how many viewers neglected to look up unless prompted.

South Tawton Ceiling Boss: The Green Man (Simhasana -- Lion's Breath)South Tawton Ceiling Boss: Sheela Na Gig (Supta Baddha Konasana -- Reclining Cobbler's Pose)Installation View, South Tawton Ceiling Bosses

I invite you to take up the artist’s stock in trade – to take the time to really see something. Perhaps this will be a subject that you pass by every day, like one of O’Keefe’s flowers. They say that artists can see approximately thirty values of any given color, whereas non artists only see ten. I think this is simply a matter of training the eye, of taking the time to discern subtle shifts in light, dark, and intensity.

If you are a fellow artist, I encourage you to look again, and to look within. To see with the wide eyes of a child, with that boundless level of wonder, enthusiasm, and curiosity.

All the best, and Namaste,

Amy

Posted in Art Travels, Creativity, General art discussion and philosophy, Inspirational Quotes, Other artists, Painting and painting techniques, Photography and photography techniques, Sacred Sites, Travel Also tagged , , |

Origins of a Painting: Second Sight/2nd Site

Second Sight/2nd Site
diptych, 12″ x 30″
oil on oil primed linen, ©2012 Amy Funderburk, All Rights Reserved
The Rollright Stones, King’s Men Stone Circle
Oxfordshire/Warwickshire border, England

Originally published in my April 2015 issue of Off the Easel

Before leaving England on our 2008 trip, I was determined to see the Rollright Stones. After all, many visitors describe this as an eerie site, and the King’s Men Stone Circle was where my husband’s photography mentor was pulled down by an unseen force.

An internet search will yield you a bumper crop of folklore and interesting stories about this site. I confess an additional appeal for me was that this megalithic site was the shooting location for the Tom Baker Doctor Who episode The Stones of Blood.  How could we resist working the Rollrights into our itinerary before heading back to London for the return flight?

The Rollright Stones are actually comprised of three sites. Joining the late Neolithic King’s Men stone circle are the Neolithic dolmen called The Whispering Knights, and The King Stone monolith dating from the middle Bronze Age.  Since we were not pulled down in the stone circle, I surmise we were welcomed by the guardians of the location. As I circumnavigated the circle — legend says that you cannot count the stones since you will get a different number each time — I was struck by the unusual, contorted and weathered appearance of each limestone form. The stones truly looked as though they were the frozen spirits of various totem animals and ancestors.

As I came to one stone in particular, I was drawn to the nearly circular opening within the limestone. Compelled to look through the hole as if it was a frith divination tube from Irish and Scottish tradition1, I found my message in the limited depth of field inherent in human vision. I was reminded that if you look at the stone, that is what is in sharp focus to the exclusion of the hazy background, whereas if you focus on the fields beyond, the texture of the stone becomes soft. To me this was a metaphor: what you focus on is what you see, both literally and figuratively. If you look for the positive aspects in your life, you will find them, but if you look for the negative attributes, you will see only that and no longer notice the good things in your life.

I photographed the stone focusing both ways, using the low light on this cloudy late afternoon to my advantage and exploiting limited depth of field with my camera. After printing a reference photograph of the stone the way it actually appears (as seen on the viewer’s left of the diptych), I flipped the other version with the landscape in focus using photo editing software before printing. Once I had both reference photographs in hand, I played with cropping the proportions and the location of the intersection between them until I arrived at a pleasing orientation.

To echo the concept of sight, I wanted an arrangement reminiscent of eyes or a mask. I folded the two reference photos along the guidelines I had drawn, but when I placed the two sides together, I discovered something quite amazing — at the intersection between the two photographs a perfectly formed swallowtail butterfly appeared at the very top edge of the stone! When painting this, I only had to clarify the bottom forked edge of the hind wing; the butterfly shape was clearly there. Had I cropped and joined the photos in any other way it would have gone undiscovered. When unplanned events like this happen during my creative process, I delight in such synchronicities.

All the best, and Namaste,

Amy


1 The frith divination seeing tube was formed with one’s hands, and was particularly employed to located someone or something who was lost. The origin of this augury is attributed to St Brigit or St Mary.

Posted in Archetypes and symbolism, Art Travels, Celtic history and mythology, Creativity, General art discussion and philosophy, Painting and painting techniques, Photography and photography techniques, Prehistoric site, Sacred Sites, Travel Also tagged , , , |