A photo I took in Broken Hill of Eduardo Nasta Luna’s sculpture–Facing the Day and the Night–forms the background for this, the fifth in my ongoing syntheses project. I flipped that photo vertically and combined it with the original to create a symmetrical inkblot effect, and then introduced a black and white photo of a mob of kangaroos that I took a few years earlier in Murramarang NP on the south coast. The result is a distant memory, appropriately photographically aged, at the foreground of memories more recent: that’s the theory behind it:)
This is a composite of three photos I took at Mount Tomah Botanical Gardens. I wasn’t using a tripod so each photo had a fractionally different framing, which served nicely to create something of a brushstroke effect. I also reoriented it from portrait to landscape, giving the waterfall more volume and enhancing the possibilities for pareidolia. How many human faces can you see in the wall?
Night like an empire falls
to the civil reflection
of one twilight pelican
dreamily shadow ghost rafting.
The spirit that once held me up,
my love, remote tears of whisky
seen through a series of still frames
on pixels of wine glass penumbras.
The wind slips in whispers
that ripple the river,
and the last morning after
the night before raindrops
cool, calm and collectedly
bead leaves of lilies,
belying what we know already:
The strains in relief
around all of those lily leaves
bear the same burden
all rain beads are found under.
- Originally published at Bonnie McClellan’s Weblog for Water Under the Bridge: IPM 2015