Robert Hite

Mudflat House (Black & White Landscape Photograph of a House in Water)

2006

Contemporary sepia toned photograph of New York City's High Line, the iconic raised walkway in Manhattan's west side neighborhood 'High Line: Column' by James Bleecker archival pigme...

High Line at 19th Street (Iconic Architectural Detail on Manhattan's West Side) by James Bleecker Contemporary sepia toned photograph of New York City's High Line, the iconic raised ...

Contemporary black and white photograph of the New York City skyline and The Statue of Liberty archival pigment print on watercolor paper, unframed & made to order 50 x 40 inch paper...

Barn with Birds, 2018 pigment print on watercolor paper, signed dated and numbered on face 13" X 16 1/4" edition #4/25 $1,500.00 21 x 27 inches framed - $1650 This Black and White ...

Washington Square Arch pigment print on watercolor paper 13 x 16, edition of 25 $1500 20 x 24, edition of 25 $2500 40x50, edition of 15, $6,500 ...

Allee, Tuxedo Park, 2018 pigment print on watercolor paper, signed dated and numbered on face 16 1/4 X 13 edition of 4/25 $1,500 24 x 20, edition of 25, $2...

'Into the Beyond' Limited edition archival photograph. Unframed, hand signed and numbered _________________ Painted pools of light dance across the richly layered mountainscape of t...

'Last Light' Limited Edition (1 of 25) Archival Photograph. Unframed. _________________ Dusk throws on her spotlights, casting deep silhouettes and revealing rich layers in the vast...

Foto fine art in Bianco e Nero di Manhatthan, New York scattata a Marzo 2008 dall'Empire States Building. Edizione Limitata di 10# Stampata in edizione limitata in una tiratura ...

Foto fine art in Bianco e Nero di Manhatthan, New York scattata a Marzo 2008 dall'Empire States Building. Edizione Limitata di 10# Stampata in edizione limitata in una tiratura ...

This photo was taken on March 1998 in New York and it printed on Hahnemühle Photo Rag 308 paper - 50x 50 . Black & White

A stand of spinous silver birch gather, shining white against the inky night... Over a three-year period, Goodall has visited areas of British forest and moorland to make images that he refers to as being 'more akin to fairytale than documentary'. There is indeed an unreal quality to the images, and this is perhaps a result of using artificial lighting; it reminds one of those spooky, unnaturally lit forests we see in the movies. In the absence of any natural illumination (save for a few that include the moon), scenes are lit as if they are in a studio setting. This results in imagery that feels eerily unfamiliar; transporting the viewer from the recognisable landscape into a kind of liminal netherworld - it's the landscape, but not as we are used to seeing it. Goodall responds to this observation by speaking about the possibility of the darkness being seen as a metaphor for the unconscious mind; the 'light' of consciousness illuminates the known forms of tree and rock, but beyond these certainties lies the unknown. When your eyes have little information, your imagination takes over and fills in the gaps." - Jasper Goodall...