Black and white snow covered trees very scenic and dramatic

Result #1

, and a garden (which may be the main element of its sumptuous, beautiful, and uplifting aura) and a counterflow of colorful flowers. The plants in the show are living things: Their raw, translucent flesh is covered with well-fed and well-groomed growth; they have furry, mottled skin; they are gray and beige; they are pink and pastel. Some are more specific than others: Daffodil (in one case, a tree-branch species), though its color is off, and its textures are smooth and dense.In the process of describing her pictures, Poiriers also plays with the conventions of photography, of describing how one photograph can serve as another. The beautiful, antique-looking wood grain that makes up a photograph of a skylighted tree is actually a photograph of a photograph of the trees: It captures something of what the photograph describes. Poiriers tries to show us how a photograph can serve as another photograph: She chooses a photograph that shows the same skylighted tree and uses the same camera. By photographing only one skylight, Poiriers shows us how the photograph can be rephotographed. The skylight also gives her picture a magical realism, which makes her photographs magical.

Result #2

. Where there is a depth of consciousness and understanding, there is also a vacuity, and a keen eye for detail and design that is all but absent from the artists work.

Result #3

, making them looks like mountains or deserts.The curved ceiling gives the work a similar effect. The first time you see it, its like going on vacation, watching a sunset in the woods. In the second, however, the curving adds a sense of relief and makes the painting look more natural. When the viewer moves, the painting seems to widen and deepen the circulation of the light around it. The view from the top down is more realistic, more sensual than in the pictures from the side. In this way, the realism has an erotic relationship with the horizonless. The surface of these paintings is a fertility that is constant and eternal. In fact, the tree branches, leaves, and flowers seem to grow from the earth, since they turn into branches that reach out to meet and embrace the viewer. The romantic vision gives the picture the feeling of a magical home. When these paintings are seen from the side, they suggest that the sky is at the bottom of the picture, while at the top, it is the top down.In the next series, the tree-lines also become the ground on which the painting is based. The sky is turned into a tree-line with a gentle sweep of light. A few florals are added. These flat, beautiful works show a talent for formal beauty that is at the heart of realism.

Result #4

Black and white snow covered trees very scenic and dramatic. In the foreground of each is a truncated white tree standing out like a giant pine trunk. A large white bird perched on the branches of these trees appeared to be watching the scene, its beak pointed at the viewer. In the middle distance, a tall white man with a beard and a flowing black coat stood next to a wooden pole. This man, as the title of the work, appears to be waiting. But hes no one-man-army, looking out toward the viewer from behind his beak. Thats when theres his smell. While in the foreground a group of birds sang their high-pitched song in a perfectly placid sound track, the landscape behind him seemed to explode in a fireball of pale colors. In the background, a giant flowerpot planted in a rock broke away from the trees, spraying bright green sap in a viscous swirl.The large-scale photography was the focus of the show. Im using four different colors—cobalt, earth green, violet, and brown—and two different scale settings. In the foreground, two dark-skinned men were seated in chairs surrounded by a gravelly forest. In the background, a wide-open doorway led to a small temple. The women who were all dressed in the same dark-brownish-blue outfit appeared to be in their thirties. Their expression was a mixture of bewilderment and vulnerability, as if in a trance.These photographs are all signed by OConnell. Every shot was taken at his studio in Dundee, Scotland. The photographs are arranged chronologically in a grid, or in a sequence. OConnell sometimes has the scene edited in black and white so the whole scene would look natural on the surface of a film. He then produces a series of black-and-white color prints for publication. The most intriguing ones are those with more colorful skies, such as the birdshot series.

Result #5

Black and white snow covered trees very scenic and dramatic in their metamorphosis to dull, hermetic columns of forest debris. Between them lay several small, compact, and yet brilliant green rocks with strange yellow splashes on them. The sputtering sounds of heavy wind on the distant trees punctuated the picture, while the slow, unobtrusive, blue light of the sun set over the scene. The sky was also a dark, and almost ancient, place; it was one of the few places on earth that had not been explored or blasted with fire by firestorms over the past three weeks.The setting of the picture was with the outside world, with the view of the sky and the earth. Blue rocks and warmly hued trees stood out against a stark, dry white sky in perfect harmony, and water was visibly carried by the wind. The picturesstructure was composed of white cloth against a dark, low, abstract background that contrasted with the dark, intense, and distant woods.The colors of the cloth had a stunning presence and beauty; its deep blues, blues of dottors, lavenders, and white and light pink were particularly pleasing. The texture of the cloth was light and creamy, and appeared to be fine in a way that reminded me of the sea. In the pictures the luminosity of the cloth was kept on the surface of the pictures by a kind of elastic, moving light that felt very real and real not only because it was absolutely transparent, but also because the cloth was so darkly reflective, as if it were reflecting the light that was so intense and mysterious.The title of this painting is Pelican, a word that comes from the Latin for sea. In Latin, this word means to seek in hiding, to keep at bay the forces that are threatening us—the sea, sea urchins, and ghosts.