Paintings of desolate houses and unremarkable buildings by artist Sarah Williams that focuses on her roots in the rural American Midwest.
Raised in a small town then moving to an urban setting for her education led her to a greater awareness of the seemingly mundane areas close to her home.
The nightscapes have a familiar feel as we often see houses and buildings like these illuminated only by the glow of a television screen on the inside or neon lights on the outside as we pass them by.
Strong emotions can be prompted by a place. Over time, ways of life shape and define the people and the spaces in which they live.
Sarah is drawn to areas and structures that show character acquired from the history and memory of the people that formed that environment.
Aesthetically I am interested in light sources and the play of light on surfaces.
This led me to paint nightscapes of familiar yet isolated and unremarkable buildings, rooms and scenes located in rural areas close to my home. I use darkness to edit out extraneous information and provide the viewer with the essence of the place.
Portraying these settings as nightscapes allows me to convey the emotional tone of the painting.
The viewer’s location is not specifically implied because of the light source within the paintings.
They must find their own way and decide their own approach when out in the rural night depicted in these works.
When he’s driving, Gregory Thielker takes in the views that change from moment to moment: the road, the sky, other cars. “Inside the car it’s easy to forget the outside temperature, humidity, the noise of the road,” he says.
“But something happens when rain interrupts the view: the lens through which we are seeing is revealed.
Water both obscures and highlights the landscape.
” The New York-based painter captured these moments in a series of paintings, Under the Unminding Sky, named after a line in Dylan Thomas’s poem This Side of the Truth.
The images are composites of different photos.
“Painting water can take on so many arrangements of colour and light, so I see the raindrops as individual paintings.”
Your Shot member Bryan Geiger made an early morning visit to the summit area of Haleakalā volcano in Hawaii’s Haleakalā National Park and it yielded this extraordinary image of an otherworldly landscape.
“I woke up at 3 a.m. and drove to Haleakalā summit,” Geiger writes. “As the sun came up it revealed only a white wall of mist.
After a couple of hours, disappointed and cold, I decided to leave.
While driving back I jumped out at the overlook to see if anything had changed.
At that moment the clouds retreated and I had only an instant to snap this photo of the alien-looking land.”