萨奇画廊




萨奇画廊






新的画廊虚拟实境之旅
新画廊虚拟实境之旅


画廊赞助商
出版物
学校参观
学校奖项
访客信息
联系方式
会员


  萨奇在线电视 艺术开幕式录影、
访谈、艺术家工作室、
艺术表演及录像、
街头访问、录像日志及博客等…






saatchi间隔号
 
 



现在开放


现在开放





现在开放


现在开放

saatchi spacer 澳洲
画廊指南...
saatchi spacer 奥地利
画廊指南...
saatchi spacer 比利时
画廊指南...
saatchi spacer 巴西
画廊指南...
saatchi spacer 加拿大
画廊指南...
saatchi spacer 中国
画廊指南...
saatchi spacer 捷克
画廊指南...
saatchi spacer 丹麦
画廊指南...
saatchi spacer 法国
画廊指南...
saatchi spacer 德国
画廊指南...
saatchi spacer 希腊
画廊指南...
saatchi spacer 印度
画廊指南...
saatchi spacer 爱尔兰
画廊指南...
saatchi spacer 以色列
画廊指南...
saatchi spacer 义大利
画廊指南...
saatchi spacer 日本
画廊指南...
saatchi spacer 墨西哥
画廊指南...
saatchi spacer 摩洛哥
画廊指南...
saatchi spacer 荷兰
画廊指南...
saatchi spacer 俄罗斯
画廊指南...
saatchi spacer 南非
画廊指南...
saatchi spacer 南韩
画廊指南...
saatchi spacer 西班牙
画廊指南...
saatchi spacer 瑞士
画廊指南...
saatchi spacer 美国
画廊指南...
saatchi spacer 英国
画廊指南...


Saatchi Gallery
Saatchi Gallery


*

陈列您的艺术作品给每天无数的访客观看

 

 


*

 

Tony Riley
 
 
关于此艺术家

I’m fascinated by the way form is described by light and its opposite, shadow, and the way things not in the scene are implied by their shadow.

Also by the relationship between colour and feeling. Since we generate colour internally, it provides a real link to our feelings.

To find the colour I want, I blend art and science by using a spectrophotometer to transform colour spaces. The work is often abstracted, sometimes abstract, but never digitally manipulated since I am finding there can be a tactile connection when photographing my subjects.

All the images are as they were taken in the camera, there is no digital manipulation.

 
按此以放大图像 (假如你已上传更大的图像)
 

Birds over Skiddaw

2006
Limited Edition of 50 Fine Art Print
36cm x 54cm

The flock had just taken off from the ground as if startled, so for me the sense of foreboding is appropriate. As with much of the work, I experimented with many small variations of capture techniques (mainly blur and movement), finding that only one particular combination suited that subject at that time.

Dancing Light

2006
Limited Edition of 50 Fine Art Print
36cm x 54cm

The first picture I took after having had the idea for the exhibition. After this, I wasn’t able to get the same sort of effect for a long time, and had to start experimenting with camera settings in relation to patterns of light. It showed me how the image could contain more detailed trails with softer shapes, and the suggestion of a corridor provided a sense of depth. It’s this variation in rendition that I find so interesting to work with.

Watershed

2006
Limited Edition of 50 Fine Art Print
36cm x 54cm

Feeling overwhelmed by searching for colour in the print-making, I took a walk along the river, and came across this scene. It contains a lot of metaphors for me that really do summarize where I am with it all. At a crossroads. Emerging from the shadow. Washing away old ideas. Strangely, this picture is about where I was when I started the experiment, and also how I finished up. It always seems to be the journey that’s important.

Green Stripe

2006
Limited Edition of 50 Fine Art Print
36cm x 54cm

I struggled with this print more than any other, trying to produce the elusive quality of a luminous green on a limey fence post in misty overcast weather. It has always seemed strange to me that some colour can be so intense in dull overcast lighting. The title is a reference to Olga Rozanova’s painting ‘Untitled (Green Stripe)’.

Still Life

2006
Limited Edition of 50 Fine Art Print
36cm x 54cm

It’s easy enough to blur a scene, and/or record it out of focus, but I’m finding that how I move the camera during the capture has to relate to the light and colour in the scene to produce a good result. Only sometimes does it seem to result in an image that I feel is how it was. There were shafts of light from the window at the back, which not only lit the bowl and picture behind but had their own identity.

Romney Bridge

2006
Limited Edition of 50 Fine Art Print
36cm x 54cm

I often seem to notice the combination of man-made and natural elements together, and the relationship between them once you put a frame around them. I always compose by trying to ‘sense’ a balance of elements in the frame, rather than following any particular method. This is a strong photographic habit for me, established after a lifetime. There seems little value in changing or discarding ways of doing something just for the sake of it - whenever I try to explore alternative methods of composition, there is rarely the same satisfaction. I have often found value from instinct and intuition without fully understanding its elements.

Everest Ice Face and Rock Butt

2006
Limited Edition of 50 Fine Art Print
36cm x 54cm

This print was one of the most difficult to produce, in terms of achieving the intensity of colour. Being there had a ‘magical’ quality to it, and that’s how I remember the light and what I wanted to get into the print. Probably just light-headed at the time! The white background is a mixture of ice face and drifting mist.

Pylon

2006
Limited Edition of 50 Fine Art Print
36cm x 54cm

I liked the enhanced sense of menace coming from something not photographed in the frame, but implied by its shadow.

Elm Grove 1

2007

Like a silent witness, the surface gradually changes to reflect the life that happened there. As with us! I see surface as a 'building up' of what they experience, rather than an 'eroding away'. Always that dialectic, it must be a fundamental aspect of human meaning.

Explosion Descending a Rockface

2008

The surface presents the moment the shock of a quarry explosion rippled through the rock to create a new face. The title is a reference to the splintered movement in Duchamp's staircase nude.

Honister Shed

2006

The present burying the past, surfacing in progress. The place has a powerful atmosphere of life gone by, leaving ghostly traces. The people came from abroad to make a new life in the mines of Cumbria, gradually blending into the population, with their experience of this place making part of the mix.

Elm Grove 2

2007

Sean Scully is a major influence for me, one of many painters who experimented with photography. For me, this is about the way surface reflects it's experience, with light, not time, as the ageing agent. And obviously in this composition, the behaviour of the eye. I would like to present it big enough to envelop the observer.
 
教育程度与个人自传
BA Hons Illustrative Photography, Manchester Poly 1970. First Class Hons.
MSc 3D Computer Graphics, Univ. of Teesside 1993.
BSc Hons Applied Imaging Science, Univ. of Lancaster 2003. First Class Hons.

Previous Exhibitions (All solo shows, except where indicated)
1984 Mountaineers' Photography, Ilford Gallery, London
1984 Crucible Theatre, Sheffield
1985 Dundee Mountaineering Arts Festival
1985 Brewery Arts Centre, Kendal
1991 Hawse End Outdoor Pursuits Centre
1993 Dundee Mountaineering Arts Festival
1995 Eden Artists, Tullie House, Carlisle (Contributor)
1996 Lancaster City Museum (Joint Exhibition with Jon Sparks)
1997 Secret Eden, Mill Gallery, Appleby
1997 Secret Eden 2, Penrith Museum
1997 William Howard Centre, Brampton
1997 University of Teesside Boardroom Gallery
1998 Brewery Arts Centre, Kendal
2001 Theatre by the Lake, Keswick - Wordsworth Trust (Contributor)
2006 Time Aside. Theatre by the Lake, Keswick
2006 Time Aside. Artisan Gallery, Kendal
2006 Time Aside. Brewery Arts Centre, Kendal
2007 Near and Far. Chris Bonington/Tony Riley joint exhibition. Theatre, Keswick.
2007/8 Near and Far. Brewery Arts Centre, Kendal.

1990 ‘SILENT SCREAM’. Ch4/BFI feature film about Larry Winters in Barlinnie Special Unit, Glasgow. Film credit for research.

1985 ‘COMPELLANCE’. Ch4/BFI experimental feature film. Director of Photography. Prod/Dir. Bob Last.

1974 BARLINNIE SPECIAL UNIT. Visits to Glasgow prison to help produce Jimmy Boyle and Larry Winters art exhibitions.


 
未来的展览
2008 Near and Far. Alpine Club, London EC2A.

Actively seeking further venues for both Time Aside and Near and Far exhibitions. Please contact me on 01539 723837.
 
网站:  www.cumbriapicturelibrary.co.uk
 
如果你有兴趣联络此位艺术家, 请按此


按此 传送此个人档案给你的朋友
 
 


back to top   回到上面


回到您的画廊首页


回到首页


The Saatchi Gallery
版权所有 2003-2009 © The Saatchi Gallery : 伦敦当代艺术画廊 : 网页索引