Convergence, line and cluster

The eye rests comfortably upon the natural and managed contours of the land

Sometimes farmers do this, leave one solitary tree in a large field, perhaps to offer shade for their sheep. But we mustn't forget that the Scottish Borders farmer has a keen eye for the aesthetics of minimalism. 

Field Divisions 2, Fuji XT-3, 23mm f1.4

Spazio di Hausdorff
presents
drookitarlùp
giancarlo toniutti / james wyness

cd
(12 page booklet and folded score)
(T2d20)

1. drookitarlupia incauta    [23'21"] adapted by Giancarlo Toniutti
2. drookitarlupia undique temere interiecta    [23'00"] adapted by James Wyness
​
drookitarlùp
composition for 42 players with non-standard string,
wind, friction and percussion instruments
performed by
The Kafkian Cladistic Claque
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retail price:-
£13,00 per cd (contact me)
14 euros per cd (contact giancarlo)

+ postage
~~~~~~~~~~~~

Early 2020.
Giancarlo Toniutti and James Wyness met several times in various European places to compose
drookitarlùp, a 23' piece for 42 players
with mostly folk, extraeuropean, or self-built and unusual wind, string, friction and percussion acoustic instruments.
An orchestra of specialised players,
The Kafkian Cladistique Claque,
gathered with the authors at Andrej Bagar Theatre in Nitra, Slovakia.
They rehearsed time and again,
then both composers conducted one performance each with their specific interpretation of the original score.
Each session was recorded and finally brought home to be mixed by the authors.

​Ideas around musique brut
​
'Adaptation is the node of research'
(Hine Kawharu Galbraith)​

More work today on painterly effects and dense textures. These two images are two as yet experimental outcomes from  a work-in-progress where I'm stacking layers of several images of the same woodland captured from slightly different positions. Then I'm trying out different background textures that I shot myself in the garden, using blend modes and selective blurring. There's a lot more work to be done, especially with colour balance and blurring. I like the effect though. With blurring in the right place and small 'clearings' in the overall density you can draw the eye in towards a region of the picture or even into the depth of field. In the top image it's somewhere right of centre in the bottom third. With some textures, bark and woodchip for example (tree-on-tree), you get those distinctive breaks in the picture, resembling early cubism. 

These are some initial explorations into the use of painterly effects on colour images and in the final picture a touch of gradient lighting. A lot of this involves creating your own textures - an alternative yet interesting day out shooting walls and surfaces - along with the use of blurs, blend modes and masks. I use Affinity Photo for image processing and am indebted to David Straker for his generosity in sharing so many online tutorials. I particularly like the effect of offsetting one or two colours against near black and white. Having seen some very good work in the urban setting I think it would be interesting to work with solitary figures against a landscape. The trick is not to overcook things. But who's the judge of that? By the way these were all shot with decent lenses on one of the cheapest Panasonic micro four-thirds cameras.