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During our 2016 DPD Antarctica Workshop we had beautiful weather – foggy mornings, sunny days, and calm waters. I’d been looking for clear reflections like these for years; it is the windiest continent. All of the eight voyages I’ve made to Antarctica have been defined by weather, which has never been the same twice.

View more images here.

Find out about my exhibit New Work 2016 here.

Preview my ebook Antarctica here.

Get a free ebook Antarctica Two Visions here.

Find out about our 2018 DPD Antarctica workshop here!

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Two of my recent studies (experiments made and processed entirely on an iPhone) combine historical photographs with contemporary exposures.

Exposures for Antarctica Now & Then were made at Whaler’s Bay, Antarctica on the active volcano Deception Island.

View more here.

Exposures for Greenland Now & Then were made in the East Greenland village of Ittoqqortoormiit.

View more here.

I’ve been wondering if there was any connection between these explorations and the work that was foremost on my mind during these voyages.

At first glance we seem to make many unrelated images, but often it’s just a matter of finding the connections. Sometimes we find the connections between what we were thinking and feeling while we are having the experience; sometimes we find the connections long after; sometimes we never find them. At the very least, doing one thing provides a rejuvenating break from the other. There’s usually more going on than we are consciously aware of.

What connections have I found? I was looking into the spirit of the land in these locations and these two experiences provided stark contrasts to that sensibility. People concerned with the spirit of a place wouldn’t kill whales in the way they were slaughtered in Antarctica; thankfully this activity has stopped. That bygone members of Greenland’s indigenous population had a stronger sense of the spirt of the place and practices for interacting with it than the quickly westernizing current members do was made evident in the art they left behind. Was my experience limited by my cultural inheritance and current circumstances? Could I, a westerner living today, also participate in more sacred ways of relating to the earth? I think so.

The finished images I produced on these trips, for my series Revelation, are evidence of this.

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Find out about my exhibit New Work 2016 here.

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I’ve spent the better part of my life exploring symmetry, especially bilateral symmetry. (You’ll find a chapter on Symmetry in my book Adobe Photoshop Master Class.)

When I make symmetrical images I pay careful attention to three things: one, the dividing line that defines the symmetry, the seam whether visible or not and any repetitive patterns surrounding it; two; rotation along the dividing line; three; what’s included in the areas that surround the dividing line, especially when contours are present.

I’ve explored creating out of phase symmetries, where two or more images of the same moving subjects shot at different times are used.

In this selection of symmetries, I explore creating varied but related symmetries from different angles of the same subject (icebergs) – 1-2, 3-6, 7-9.

View more here.

View the finished works of art here.

See more in my exhibit New Work 2016.

View inkblot studies here.

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Klecksography is the art of making images with inkblots. Spots of ink are dropped onto a piece of paper, which is then folded while still wet to create mirrored patterns. Symmetry most powerfully stimulates, apophenia, the human tendency to see meaningful patterns in random data.

The history of using inkblots as tools for stimulating imagination can be traced back as far as the late 1400’s. Both Leonardo da Vinci and Boticelli used them.

Interest in this practice grew wider in the late 1800’s when physician and poet Justinus Kerner collected his studies in a book Klesksographien, which was published posthumously. Kerner, also a mystic poet, felt that such drawings not only brought him in closer contact with deeper aspects of his nature but also drew him closer to the spirit of nature.

Around the same time, a similar game was described in the book Gobolinks or Shadow-Pictures For Young And Old (Stuart and Paine), which explained how to make inkblot monsters and use them as prompts for imaginative writing.

Some years later, psychologist Hermann Rorschach made the most enduring contribution to this practice. As a child he enjoyed klecksography so much that his friends nicknamed him “Klecks” (inkblot). While studying Freud’s work on dream symbolism (under the tutelage of Eugen Bleuler, who also taught Carl Jung), Rorschach’s interest in klecksography was rekindled. He published his book Psychodiagnotik (1921) and invented his now famous Rorschach Test, seeing it as a potent tool to stimulate visual free association, which would in turn uncover unconscious tendencies and desires, much like Freud used verbal free association. (From hundreds, Rorschach selected ten inkblots, designed to be as ambiguous and “conflicted” as possible.) Since then, many other psychologists have refined the Rorschach Test and used it as a tool for studying the subconscious. In the 1960’s it was the most widely used projective test.

I’ve found exploring inkblot symmetries extremely rewarding. The perceptual transformation that occurs when making them and the visual skills this practice kindles has influenced my art in many ways.

Here’s a sampling of my most recent digital inkblot studies.

What do you see in them?

View more of my inkblots here.

View some of my finished works of art that were influenced by klecksography here.

See more in my exhibit New Work 2016.

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