The irregularity of the cloud first got my attention. In the original shot, the white in the center was so bright you couldn't see the sun. Then when the negative was drum scanned, the sun became visible. But the image then got darker. When first developed, in film, unscanned, the irregular edges were very bright. In digital format, I'm now juggling to keep the sun visible while trying to recover some of the bright light around it without blowing out the sun itself. In experimenting with lig...
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Rembrandt
Rembrandt:
I can't paint the way they want me to paint and they know that too. Of course you will say that I ought to be practical and ought to try and paint the way they want me to paint. Well, I will tell you a secret. I have tried and I have tried very hard, but I can't do it. I just can't do it! And that is why I am just a little crazy.
- As quoted in R. V. R.: Being an Account of the Last Years and the Death of One Rembrandt Harmenszoon Van Rijn (1930) by Hendrik Willem van Loon I have j...
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Artoteque Exhibit
Artoteque - Art Time 2
I am thrilled at how my photography is laid out on Artoteque's juried online exhibit for Art Time 2.
Artoteque is a virtual online gallery, originating in London. I am finding it really synchronistic, how galleries in Paris, London, Canada, and so forth, and a book publisher in Germany are able to find my work since the moment it appeared in Marquis Who's Who in Modern Art. This is fortunate for me, because I would have had more difficulty if starting locally, I think....
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Video: Mireille Gratier and Margaret at Gallery Gora
The weather was glorious in Montreal for the Gallery Gora exhibit of three of my cloud photographs. It was just under 80 degrees Fahrenheit. Off I went at 4:30 to the Exhibit Opening. I was surprised that many artists from Europe made the long trip. From France, Germany, Switzerland, Italy, Luxembourg. And then Canada and the US. Another lovely note: they were all gracious and friendly, glad to meet as our photography/paintings shared the space. Below, my camcorder cooperated, and I've post...
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Experimental Graphics
I call this computer PK. It started accidentally in the 1990s after a death: sometimes text pages of my manuscript would print out different than what was on the screen.
These restructurings became illustrations throughout the Love in Transition/Space Encounters book series. When I showed samples to the late physicist Evan Harris Walker, a proponent of “the observer theory” in consciousness and a ...
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Santa Fe/Taos Reservation Cloud
This is part of a series taken near the Taos Indians’ ancient village in New Mexico. I had been denied entry because they were in a month-long retreat for Easter—to support the old ways. Impulsively, I asked to be given a name in the Taos language. It was (in translation) Blue Flower. Back at the Santa Fe, NM ranch I was visiting, I photographed the sky. In this and other photos, it seemed filled with feathers.
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Limited Editions
Limited edition pigment giclées
These photographs appeared in the Marquis Who’s Who in American Art Artists Gallery in 2008 and 2009.
Man in Feathers was taken near the Taos Indians’ ancient village, in New Mexico during their month-long Easter retreat. To read more, go to the Santa Fe Gallery.
Silver Halide photograph. Media: Pigment Giclée on acid-free, lignin-free fine art paper. Permanence: 100+ years. Certificate of Authenticity
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Faces in Jet Blue-Black Cloud
In the solo exhibit The Sun in Profile: So Bright It’s Dark in Sibiu, Romania, the darkness is the result of experimenting with excessive sunlight. The exhibit took place in April 2005, co-sponsored by the C. Peter McGrath Center at the Lucian Blaga University and the Romanian-US Fulbright Commission. I initially saw this image as a backbone in the sky. Then faces began to emerge.
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Ralph Waldo Emerson Quotes
In response to a question about changes in publishing, I surfed the web and came across, by chance these quotes from Ralph Waldo Emerson. How's this? There's a lot that's good about change. But one thing not to forget, Emerson had down pat:
The greatest homage we can pay to truth is to use it. In the woods, we return to reason and faith. There I feel that nothing can befall me in life - no disgrace, no calamity (leaving me my eyes), which nature cannot repair. Standing on the bare ground - ...
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