The Liquidity of Light.
Sometimes I dream of a picture and then work out the technicalities of making it. I don’t always match the vision. In fact, I am more often surprised by what happens when I let light bounce around in my camera. This is the magic that can happen when photography and my dreamtime mix.
Sandstone outcrops form an island dividing Balmoral Beach in Sydney, Australia. For a decade, while I lived there, the island and its rocky shoreline were familiar to my cameras. They often featured as part of wider landscapes. This dream required a more intimate conversation with this well-trod place. I wanted the camera to find what my imagination was searching for.
In October 2012, washed by the dawn light, I suspended the camera by its strap and stepped across the rock shelf. All the while dodging the deeper holes, slippery seaweed and any larger waves.
The camera floated millimetres above the small waves washing around my feet. A swinging camera, long exposures and golden light worked with, and against, each other. Water, stone and seagrasses melted into surreal, flowing sculptures.
Later, in my digital darkroom, I worked with the raw pixels to re-create my dream's colour, light and mood. This was not to be a straightforward process.
I got close and was 'happy' with the initial results. Happy but not satisfied. I revisited the images over the next ten years. Sometimes tweaking, other times starting all over.
Prompted by someone new to my work, I looked once more at light from a decade ago. This time I am satisfied. At least for now...
I incorporate movement into a lot of my photographs. Exposures, many minutes long, surround immovable objects with blurred water and clouds.
This series goes a step further, everything is moving. With no point of sharpness, there is only the liquidity of light.
These Small Edition Prints are made on museum-quality Hahnemuhle Photo Rag paper. It beautifully replicates the light and moods of my original visualisation. I make photographs to be hung on walls and appreciated for decades so the white paper and soft texture of Hahnemuhle Photo Rag are both integral to how I want you to see and ‘feel’ my work.
About this artwork
Available in A4 size (Edition of 15), A3 size (Edition of 15), A2 size (Edition of 10) and A1 size (Edition of 10) including a border for easy framing.
Supplied with a signed, stamped & numbered Certificate of Authenticity as well as a letter from Paul for provenance.
Presented on acid-free, archival cotton Photo Rag Giclée paper with a silky smooth finish, from Hahnemühle the world’s oldest mill which has been producing fine art papers for more than 500 years
We recommend you take care when handling this museum-grade print. Buying a pre-framed print will ensure your artwork is protected and ready to hang
Guaranteed archival life of 100+ years
Carbon-neutral, sustainable production, packaging and shipping
Free global delivery with tracked & insured shipping
The Nielsen Quadrum picture frames are made in Germany from FSC®-certified wood. The wood comes from sustainably managed forests that meet the criteria of the Forest Stewardship Council. The Oak frames are solid wood from FSC®-certified sources with an Oak veneer.
A list of print and delivery times to various regions can be found here.
Room mock-up views are for guidance only. Where finished sizing is critical, the indicated paper sizes are recommended to be measured in the room where the art will hang. Extra allowance should be made for matting and framing. A blank sheet of paper temporarily placed where the art will hang, representing the finished size helps visualise if your preferred size suits the space.
Please contact Paul with any questions.