Guy Dickinson | Karst I/XII, 2024
Digital
Media Dimensions: 29.7 x 42 cm
Image Dimensions: 29.7 x 42 cm
Edition of 6
Framed/unframed
Guy Dickinson’s instinct to head off to the remote edges of things goes deep. The visible traces of these solitary odysseys are sequences of photographs whose intensity comes not, one senses, from a desire for self-knowledge, but from a yearning for total immersion in the encounter with a physical environment. Landscape or seascape, in their ability to encompass the grand and the granular, these images take the viewer similarly deep into their field of vision. It is of the essence of Guy’s work not to tell us how to look, but rather to clear the way we see, so that it is the place itself not the photograph, that we feel on our retinas.
Digital
Media Dimensions: 29.7 x 42 cm
Image Dimensions: 29.7 x 42 cm
Edition of 6
Framed/unframed
Guy Dickinson’s instinct to head off to the remote edges of things goes deep. The visible traces of these solitary odysseys are sequences of photographs whose intensity comes not, one senses, from a desire for self-knowledge, but from a yearning for total immersion in the encounter with a physical environment. Landscape or seascape, in their ability to encompass the grand and the granular, these images take the viewer similarly deep into their field of vision. It is of the essence of Guy’s work not to tell us how to look, but rather to clear the way we see, so that it is the place itself not the photograph, that we feel on our retinas.
Digital
Media Dimensions: 29.7 x 42 cm
Image Dimensions: 29.7 x 42 cm
Edition of 6
Framed/unframed
Guy Dickinson’s instinct to head off to the remote edges of things goes deep. The visible traces of these solitary odysseys are sequences of photographs whose intensity comes not, one senses, from a desire for self-knowledge, but from a yearning for total immersion in the encounter with a physical environment. Landscape or seascape, in their ability to encompass the grand and the granular, these images take the viewer similarly deep into their field of vision. It is of the essence of Guy’s work not to tell us how to look, but rather to clear the way we see, so that it is the place itself not the photograph, that we feel on our retinas.
