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And finally then, we arrive at the last of the last. You probably feel as if you’ve spent as much time in this barley field as me!
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A roar of Summer at the end of the week! In common with lots of my plant photography, I don’t know when these portraits of Eschscholzia californica were taken, but at some point in the early 2000s. I know where they were taken – in the garden of a post office in rural Lincolnshire, and…
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After parts one and two, it’s part three of the series of photographs taken at Hart Hill, Kent. Just as you may be running out of patience with these images, I’m running out of ways to express my pleasure at this patch of land – but not quite! So see the way the whiskers hover…
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Michael Haneke’s The White Ribbon is a 2009 German language film shot in surgically precise black and white. The time is 1913, the place is a small, isolated German village named Eichwald, and the narrative evolves around a series of unexplained acts of cruelty and malice perpetrated against the remote, rural community.
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It’s time to catch-up with Artist-in-residence, Tom Beg, a moment to which I always look forward because I know I’m in for a visual treat or two – and this latest update is no exception.
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Back again in the barley fields at Hart Hill. There are at least two more thrilling episodes of ‘Phil’s rhapsodic photographs of arable crops’ to come this week, so this will be good news or bad – depending on your tolerance for my tolerance for impressionist in-camera happenings! Admittedly, a few of the images in…
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Synthesis is a magic trick, the way seemingly disparate things activate each other before drawing together more tightly to produce something whole and new. It’s the busy brain, seeing patterns, asserting them, refusing disparity, giving shape, form and meaning where there was none… and it’s always a relief when it happens!
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At the beginning of the month, I went out to the top of Hart Hill, where a large field of whiskery barley covers the gentle camber of the hill. On that particular day, the sun was awol and the rain intensifying, so I didn’t stay long, though long enough to delight at the way the…
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With Jean Cocteau as our guest referee, little wonder the Kick-About #4 was a game of magical doorways, shadowy thresholds and nebulous reflections. This time we have Alice Neel as our muse, whose uncompromising paintings have, hardly surprisingly, prompted a range of provocative impressions from our motley crew of up-for-it creatives. Happy browsing.
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My ex never rated Ella Fitzgerald. He found her vocal seamlessness anodyne, preferring the gravel of Dinah Washington, the rasp of Etta James, the smoke of Sarah Vaughn. He found Ella too polite, too popular, too ubiquitous, desexed. For all of that, as a gay man of a certain age whose identity had been criminalised…
Red's Kingdom 