Marian Drew devises a unique sense of place through the manipulation of light, space and form. The imagery is nostalgic, silent and frozen in the moment. Her personal repertoire of aesthetic qualities and visual language explores photography as a medium that can be creatively manipulated to give form to alternative ways of thinking and representing the material world. Drews bush projections move from observations of nature to responding and generating imagery in the bush; for example, Bush Projection: Picket Fence demonstrates the intersection of the built environment and nature (as pictured). Drew refers to this process as feeling your way inside the landscape. Working in situ with projectors and a generator to imprint imagery of suburban picket fences and human characteristics onto trees and bush, the camera records the event.

Result #1

Marian Drew devises a unique sense of place through the manipulation of light, space and form. The imagery is nostalgic, silent and frozen in the moment. Her personal repertoire of aesthetic qualities and visual language explores photography as a medium that can be creatively manipulated to give form to alternative ways of thinking and representing the material world. Drews bush projections move from observations of nature to responding and generating imagery in the bush; for example, Bush Projection: Picket Fence demonstrates the intersection of the built environment and nature (as pictured). Drew refers to this process as feeling your way inside the landscape. Working in situ with projectors and a generator to imprint imagery of suburban picket fences and human characteristics onto trees and bush, the camera records the event. This work is a composite of two photographs, one from the left and one from the right, that were taken in the same location, but with the same camera. The tree in the composite image is a redwood, and the fence in the composite is a row of redwoods. The tree and fence are both visible from a distance, but the tree in the composite is a single tree, and the fence is a single fence. The composite image is a composite of a tree, a fence, and a tree that is an artificial one.The composite is an image of the composite, the tree in the composite image is a composite of a tree, a fence, and a tree that is an artificial one. The composite image is an image of the composite, the tree in the composite image is a composite of a tree, a fence, and a tree that is an artificial one.The composite is an image of the composite, the tree in the composite image is a composite of a tree, a fence, and a tree that is an artificial one. The composite image is an image of the composite, the tree in the composite image is a composite of a tree, a fence, and a tree that is an artificial one.The composite is an image of the composite, the tree in the composite image is a composite of a tree, a fence, and a tree that is an artificial one. The composite image is an image of the composite, the tree in the composite image is a composite of a tree, a fence, and a tree that is an artificial one.The composite is an image of the composite, the tree in the composite image is a composite of a tree, a fence, and a tree that is an artificial one. The composite image is an image of the composite, the tree in the composite image is a composite of a tree, a fence, and a tree that is an artificial one.

Result #2

Marian Drew devises a unique sense of place through the manipulation of light, space and form. The imagery is nostalgic, silent and frozen in the moment. Her personal repertoire of aesthetic qualities and visual language explores photography as a medium that can be creatively manipulated to give form to alternative ways of thinking and representing the material world. Drews bush projections move from observations of nature to responding and generating imagery in the bush; for example, Bush Projection: Picket Fence demonstrates the intersection of the built environment and nature (as pictured). Drew refers to this process as feeling your way inside the landscape. Working in situ with projectors and a generator to imprint imagery of suburban picket fences and human characteristics onto trees and bush, the camera records the event. Drews work is an exploration of the relationship of natural and cultural phenomena. In this series of photographs she documents the process of the creation of her own picture. The photographs are of a type of tree, a kind of plant, and a kind of fruit, all of which are captured in a single image. The tree is a fig tree, a large, bougainlike tree that grows on a tree trunk. The plant is a piece of cast resin, a sort of natural polymer that has been produced in a process similar to that of the cast resin tree. The fruit is a beech tree, a type of tree that is native to the forest of the African continent. The tree is a symbol of the creative process. The tree is a symbol of the creation of a new world.Drews work, as well as that of other artists, is concerned with the relationship between nature and culture. In one of the photographs, a tree, a plant, and a fruit are all in one. In this series of photographs, the tree is a metaphor for the creation of a new world. The tree is the tree of life, the tree of creation. The fruit is the tree of knowledge. Drews work is an exploration of the relationship of natural and cultural phenomena. In this series of photographs, the tree is a metaphor for the creation of a new world. The tree is the tree of life, the tree of creation. The fruit is the tree of knowledge. Drews work is an exploration of the relationship of natural and cultural phenomena. In this series of photographs, the tree is a metaphor for the creation of a new world. The tree is the tree of life, the tree of creation. The fruit is the tree of knowledge. Drews work is an exploration of the relationship of natural and cultural phenomena. In this series of photographs, the tree is a metaphor for the creation of a new world.

Result #3

Marian Drew devises a unique sense of place through the manipulation of light, space and form. The imagery is nostalgic, silent and frozen in the moment. Her personal repertoire of aesthetic qualities and visual language explores photography as a medium that can be creatively manipulated to give form to alternative ways of thinking and representing the material world. Drews bush projections move from observations of nature to responding and generating imagery in the bush; for example, Bush Projection: Picket Fence demonstrates the intersection of the built environment and nature (as pictured). Drew refers to this process as feeling your way inside the landscape. Working in situ with projectors and a generator to imprint imagery of suburban picket fences and human characteristics onto trees and bush, the camera records the event. The twenty-four-part series of photographs by the artist, entitled Self Portrait, 1996, which was on display at the Whitney Museum, explores the relationship between the nature of the self and the nature of the environment. A series of self-portraits by a female artist, these are also some of the most common photographic forms in the exhibition. The photographs are captured in a range of settings, from the natural to the artificial. The photographs are made of photographs of the same subject as the subject of the self, and the subjects are photographed in the same way. The images are then printed on canvas and glued to the canvas. In this way, the self is simultaneously a photographic self and a photographic image. The canvas is a medium that is used to create images, a medium that can be used to create an image. In this way, the self is simultaneously a photographic self and a photographic image. The images are then printed on canvas and glued to the canvas. In this way, the self is simultaneously a photographic self and a photographic image. The images are then printed on canvas and glued to the canvas. In this way, the self is simultaneously a photographic self and a photographic image. The images are then printed on canvas and glued to the canvas. In this way, the self is simultaneously a photographic self and a photographic image. The images are then printed on canvas and glued to the canvas. In this way, the self is simultaneously a photographic self and a photographic image. The images are then printed on canvas and glued to the canvas. In this way, the self is simultaneously a photographic self and a photographic image. The images are then printed on canvas and glued to the canvas. In this way, the self is simultaneously a photographic self and a photographic image. The images are then printed on canvas and glued to the canvas. In this way, the self is simultaneously a photographic self and a photographic image. The images are then printed on canvas and glued to the canvas.

Result #4

Marian Drew devises a unique sense of place through the manipulation of light, space and form. The imagery is nostalgic, silent and frozen in the moment. Her personal repertoire of aesthetic qualities and visual language explores photography as a medium that can be creatively manipulated to give form to alternative ways of thinking and representing the material world. Drews bush projections move from observations of nature to responding and generating imagery in the bush; for example, Bush Projection: Picket Fence demonstrates the intersection of the built environment and nature (as pictured). Drew refers to this process as feeling your way inside the landscape. Working in situ with projectors and a generator to imprint imagery of suburban picket fences and human characteristics onto trees and bush, the camera records the event. in the field of nature, the camera records a sensation of being in the forest.

Result #5

Marian Drew devises a unique sense of place through the manipulation of light, space and form. The imagery is nostalgic, silent and frozen in the moment. Her personal repertoire of aesthetic qualities and visual language explores photography as a medium that can be creatively manipulated to give form to alternative ways of thinking and representing the material world. Drews bush projections move from observations of nature to responding and generating imagery in the bush; for example, Bush Projection: Picket Fence demonstrates the intersection of the built environment and nature (as pictured). Drew refers to this process as feeling your way inside the landscape. Working in situ with projectors and a generator to imprint imagery of suburban picket fences and human characteristics onto trees and bush, the camera records the event. Drews images are sometimes of the most beautiful kind, such as the one of a lone tree in a forest with a glowing sun in the background. This tree, the only one in the show, is also the only one in the exhibition to have been photographed. The tree is a four-by-five-foot piece of timber that has been cut to create a fence. The tree is a sort of a stage, a place for the camera to use.Drews photographs of her own home are the most beautiful ones in the show. The most beautiful are those of a woman who is trying to make a connection with the world and with nature. Her photographs are of a house built for the living room and the living room for the living room. The house is a kind of a home that the viewer can enter and take a walk through.Drews photographs of her own home are of a house built for the living room and the living room for the living room. The house is a kind of a home that the viewer can enter and take a walk through.Drews photographs of her own home are of a house built for the living room and the living room for the living room. The house is a kind of a home that the viewer can enter and take a walk through.Drews photographs of her own home are of a house built for the living room and living room. The house is a kind of a home that the viewer can enter and take a walk through.Drews photographs of her own home are of a house built for the living room and living room. The house is a kind of a home that the viewer can enter and take a walk through.Drews photographs of her own home are of a house built for the living room and living room. The house is a kind of a home that the viewer can enter and take a walk through.