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| Tony Riley | |
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Born 1942 in Manchester, UK. |
| 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. |
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| 按此以放大图像 (假如你已上传更大的图像) | |
Birds over Skiddaw
2006 |
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| 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. |
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Dancing Light
2006 |
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| 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.
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Watershed
2006 |
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| 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. |
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Green Stripe
2006 |
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| 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)’.
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Still Life
2006 |
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| 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. |
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Romney Bridge
2006 |
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| 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.
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Everest Ice Face and Rock Butt
2006 |
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| 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. |
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Pylon
2006 |
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| I liked the enhanced sense of menace coming from something not photographed in the frame, but implied by its shadow. |
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Elm Grove 1
2007 |
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| 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. |
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Explosion Descending a Rockface
2008 |
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| 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. |
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Honister Shed
2006 |
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| 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. |
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Elm Grove 2
2007 |
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| 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. |
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| 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. |
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| 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. |
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| 网站: www.cumbriapicturelibrary.co.uk | |
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