Two hundred and ninety seven


Autumn Foliage

c2000 by David Anthony Hall
Will’s Art Warehouse

Hall’s prints appear as much more than photographs; they are expanses and views of the natural world that provide not just a vision, but an intense feeling of being within a place. There is an effect of absorption; as we gaze into these landscapes, between these trees, we are startled by the same light that illuminates the leaves so brilliantly. Light, in any medium of art, is surely the key to capturing the very essence of a place — tossing us back to times passed and illuminating memories. Hall takes care to trap the natural light of the world in his prints, allowing them to radiate with the rays that first drew him to these spots of natural beauty. Hall’s method of printing — archival photographs in acrylic blocks — becomes as important as the subjects he captures, commanding admiration in its three-dimensional brilliance of colour. Through his care of display, reality becomes translated to the wall. Hall’s photographs range from long rectangles of forest or field, large and imposing, to circular snap-shots such as Autumnal Foliage. There seems to be a current trend for circular canvases, judging by the amount that cropped up in the 2011 art fairs, but Hall perhaps uses the shape to its full advantage. As an eye would take in the world with a glance, without straight edges or corners, so does Hall’s Autumn Foliage. This circle lies us down on our backs and puts us in mind of all the times we too have gazed up to the sky, taking in the canopy of translucent leaves that mottle the sun. The detail is phenomenal, we are able to take in every dazzling leaf, broken as they are by the darkness of the trees creeping veins. It is no wonder that Hall’s prints are sort after, who doesn’t like that feeling of being outside.



Filed under Twenty First-Century

2 responses to “Two hundred and ninety seven

  1. Sophie,

    Delighted you added this postcard to your wall, you have put such lovely words next to this picture.



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