Vanessa Marsh

Landscape #36

2018

Sometimes there is a hazy, almost tropical light that falls over the Bay Area. The moisture in the air falls on the landscape and makes it appear as a series of two-dimensional plane...

"I make the images by first creating drawings on clear mylar. These drawings are then laid on top of light sensitive paper in the darkroom and then the paper is exposed to light. For images with layered landscapes, multiple drawings are placed on the paper which is then exposed at intervals and a drawing removed at the end of each interval. The stars are created by exposing the paper to light through a mask with small holes poked into it. The darkroom aspect of the process creates a photogram negative, which I then scan and invert into a positive image digitally. The final images are pigment prints on archival rag paper." -- Vanessa Marsh Vanessa Marsh was born in Seattle, Washington, and currently works in Oakland, California. Marsh first became interested in Photography when her mother gave her a Nikon E series camera in 9th grade. She earned her MFA in 2004 from California College of the Arts. Marsh has exhibited widely including the Contemporary Jewish Museum in San Francisco, Dolby Chadwick Gallery...

Vanishing Point; Caprarola and Black Rock City (Burning Man) - 2010 Edition of 10, 20x60cm, Archival Pigment Print on Velvet Watercolor Paper, 310gsm, Bright White, Acid Free. Si...

"I was intrigued to find what I supposed was the world's largest ice cream vendor in the world's smallest ice cream van, The rear suspension plays testament to this." - David George Beadnell, England, "Ice Cream Van", from the 'East of Eden' series, 2020 Photogravure; Charbonnel Ink on Archival Somerset Satin Paper Photogravure, 14.85 x 21 cm plus frame, (custom made with antireflective art glass) Edition of 2/5 + 2APs, Signed and numbered David George's interest in British landscape began under the tutelage of John Blakemore at Derby University and continues to be a major part of his practice, now mainly concerned with ideas of classical and romantic visual semantics in the contemporary British landscape. His work looks at the decline of traditional industries, incorporating his interest in 19th century European landscape painting...