Beautiful sunkissed fall woods surrounding a clearing where a small water pool is starting out of nowhere

Result #1

Beautiful sunkissed fall woods surrounding a clearing where a small water pool is starting out of nowhere . . . nothing to see, really. It's a pretty sweet place, but a little disorienting and a little scary to get there. The only other reference I could find was a statement made by a hunter who visited the site. He said that he was surprised to find that this had to do with a sun dog. I wonder if he wasnt also startled to learn that it was part of his usual practice. At the very least, the site is not very interesting and very hard to get there. The pictures dont have any narrative or psychological connection, and they are much too small to be meaningful. As a result, they have no impact or personality either. Theyre just pictures that make you want to get up and start looking, to find out what they are and why theyre there.Theyre pictures that are really pretty, and theyre pretty pictures. This is what they are, and theyre all pretty. And thats what theyre about. But theyre also about the kinds of pictures that might be thought of as cute. They are pictures that look pretty, and theres something charming about that. They are pictures that look pretty, but thats not cute. And thats what theyre about. And thats what theyre about.And thats what theyre about. And thats what theyre about. Theyre about the kinds of pictures that look pretty, but dont look pretty. And thats what theyre about. Theyre pictures that look pretty, but dont look pretty. They are pictures that look pretty, but dont look pretty. They are pictures that look pretty, but dont look pretty. They are pictures that look pretty, but dont look pretty. They are pictures that look pretty, but dont look pretty. They are pictures that look pretty, but dont look pretty. They are pictures that look pretty, but dont look pretty. They are pictures that look pretty, but dont look pretty. They are pictures that look pretty, but dont look pretty.

Result #2

Beautiful sunkissed fall woods surrounding a clearing where a small water pool is starting out of nowhere . . . I cant be sure what that is, but it looks like a little big ocean. Piles of rocks fall in a valley where a yellow canoe rides an odd little canoe. The canoe is the only vehicle in the landscape, and it seems to be getting through a stream, a waterfall, and a river at the same time, but theyre a bit unstable and theres nothing to see. The only thing the canoe can do is take the rocks off the canoe and toss them into the pool. The camera focuses on this boat as if it were a picture taken by a setter; the position of the action is radically different from the one in which it would normally be in a movie. It looks like the camera has gone from the objective of capturing the action in the objective world to the point of trying to capture the actions that are visible. The camera is stuck in a situation that is not natural, but artificial.The most compelling aspect of this film is the setting; the scene is one of the woods of the city, which in the course of an hour or two becomes progressively more complex, more and more mysterious. The action is slow-moving and precise, and the tree-top view is superbly orchestrated. It is as if the camera were in a forest, and the trees, the water, and the pool are all very much like the trees that framed the scene at the beginning of the film. There is no confusion, no confusion of the real and the artificial, no confusion of the real and the artificial world. The action is recorded in a very precise sense; there is no confusion of camera position. It is recorded with the utmost precision; the camera is never more than a few feet away from the action. Everything is carefully staged. The action takes place in a natural environment, but the camera is never able to reach the real world, which it would normally have been able to see, since the real world is hidden away.

Result #3

. . . theres a rather isolated, almost painterly kind of hum. He has the strangeness of some pretty slick art, but thats just the kind of weirdness he wants to avoid.He puts the clerestop in a tight perspectival space, but thats just the opposite of what he wants to happen. The view is blurred and the visual weight is reduced, and what does it show? An empty, ethereal, massive space. A sense of nothing or no-thing. The space and the view are both empty, and no one is around. It feels as if the entire work is just sitting around, something to be forgotten or just left to happen. The only action is that of a barely perceptible heat of the paint, a lack of any physical activity. It all feels almost amateurish. One wonders if he knows that the real power of his work is his attempt to make us realize the gulf between what is real and what is artistically constructed, and the gulf that separates the two.

Result #4

Beautiful sunkissed fall woods surrounding a clearing where a small water pool is starting out of nowhere . . . both landscape and forest. In this sketchy urban setting, the sky is a flat black; the trees are just straight, and the pools small; but the woods are beautiful and quiet, and the pool is big and dark. A sense of scale is maintained, and the perspective is that of a hill, which is itself a beautiful picture. It would seem to be, in fact, one of the hills in the woods, but isnt. It looks like some place on the edge of a gulf, and is, if anything, a little too low, and a little too far away from the viewer to be anything other than a shadow. One wonders about the literal point of the sketch, and whether it is really in the woods that the photograph is taken.Is the process of learning the forms of the woods really an act of learning the rules of the world, a sort of exploration of the limits of human perception? It is impossible to say, but the wood has a beautiful, incandescent light and is bright and bright. The woods are also a sort of Platonic form, but one which is full of infinite, internal, reverberating possibilities. The world of natural forms is revealed in the world of signs, and the signs are just as beautiful as the forms. And one may ask, Is the process of discovering the world of signs really a process of putting these signs together? We can understand this process as a sort of universal artistic project; it is a reenactment of the beginning of a new creation.The gallery is a garden of signs. The sign is, in the end, the sign. Like the garden, it is a process. To the viewer, the viewer is simply the animal in front of the garden, discovering the world of signs. To the artist, however, the process is something more, a process of forming new forms which one can pass down to future generations.

Result #5

Beautiful sunkissed fall woods surrounding a clearing where a small water pool is starting out of nowhere  (all works 2007) are surrounded by a desert of raised sand. A large silhouette of a tress falls from a tree. The color is earthy, the earthyness silenced by the trees fringe. It is the silhouette of a single hand that reaches out from the sand, its tip hovering over a hole in the stump, the fingertips still wet. The hand is apparently holding the folded linen out of which the hand is about to form, but the hand has been cut away, leaving only a stump. The hand, as if its momentum had momentarily been suspended, is the sun. The wet hand seems to be the sun itself.And if the hand has been suspended, the stump itself is still standing. The small-scale work Nude Fall, which has been installed on the same ground and across the same room as the larger work, is, as one would expect, the subject of a standing figure, but it is no longer the figure of a woman. Instead, it is a hand, the palm of a hand that has been cut into a turtleneck. The hands presence, once so specific to the other figure, has been displaced here. The hand has become something that is only vaguely implied, as if it were a missing limb, a piece of a body, a piece of wood. As in the turtleneck, there is a sense of displacement, but it is one that has been caught in a twist, of being thrown from the frame into the space that it occupies. The turtleneck becomes an enlarged turtleneck. The hand that holds it is no longer the hand that held it. It is a hand held down by the hand.The work is titled Landscape with a Number of Types and a Table of Types and Table of Types, and the turtleneck and turtleneck are broken into many shapes that have been reduced to a standardized set of three—a triangle, a cross, and a circle.