Sequence I, II

[Shawn Kearney]

This is the start of a series I am half-heartedly working on, not a diptych. The series deals with subtle repetition of minimal form and line found in natural materials.

Shawn Kearney:Sequence I​

Shawn Kearney:Sequence II​

 

[Asher Kelman]

This is the start of a series I am half-heartedly working on, not a diptych. The series deals with subtle repetition of minimal form and line found in natural materials.

Shawn Kearney:Sequence I​

Shawn Kearney:Sequence II​

Shawn,

Why be half-hearted on this? What's holding you back. It's a great concept. Where's your dilemma? It it that you worry about finding more for a reasonably sized series with some commonality?

I find this interesting and would like to see you commit to it fully. It's hard when the creator is not enthusiastic about his offspring!

Asher

 

[Shawn Kearney]

maybe I miswrote when I said half-hearted, it's not so much that I don't value the project, but it's just something that cannot be pushed, how do you "go all into" subtle minimalism? It's kind of a meditative thing.

I wasn't even really planning on a series until I spotted Sequence II. Sequence I I liked a lot, but it didn't really fit into any theme until I found Sequence II. But i think for this to work, these sorts of images need to be found, not pushed, you know? Part of their appeal is that they are not contrived and overt.

 

[Asher Kelman]

May I then suggest some sources for you to explore. I'd consider fossilized tree trunks, polished or not. I could photograph one for you, uncreatively, just as a scientific documentation and then you can edit as you wish.

One could look at an old bridge or house with concrete where that has been water problems and efflorescence of the minerals over the exterior of the concrete.

You might look up public domain images of earthquake faults or geological strata showing different eons and layers of different colors of rocks, river sediment, ash from fires/meteorites and the like.

Once you process the images your way, they will be subject to your way of seeing things and become brothers and sisters too1

Asher

 

[Sam Hames]

maybe I miswrote when I said half-hearted, it's not so much that I don't value the project, but it's just something that cannot be pushed, how do you "go all into" subtle minimalism? It's kind of a meditative thing.

I wasn't even really planning on a series until I spotted Sequence II. Sequence I I liked a lot, but it didn't really fit into any theme until I found Sequence II. But i think for this to work, these sorts of images need to be found, not pushed, you know? Part of their appeal is that they are not contrived and overt.

I like your attitude here, the quiet kind of waiting shows in the photos. Looking forward to more, on their own time

Sam

 

[Asher Kelman]

I like your attitude here, the quiet kind of waiting shows in the photos. Looking forward to more, on their own time

Sam

If one just waits for the opportunity to arise by happenstance, then one had better not leave home without a camera! Chance favors the prepared!

I do both, as chance has always been good to me. Still, if I want to photograph lions, I don't wait at home. I go to the zoo or take a plane to South Africa! This applies to everything we seek. go to where it lives!

Asher

 

[Asher Kelman]

I like your attitude here, the quiet kind of waiting shows in the photos. Looking forward to more, on their own time

Sam

If one just waits for the opportunity to arise by happenstance, then one had better not leave home without a camera! Chance favors the prepared!

I do both, as chance has always been good to me. Still, if I want to photograph lions, I don't wait at home. I go to the zoo or take a plane to South Africa! This applies to everything we seek. Go to where it can be found!

Asher