The Artists' Landscape

Latest Work



'A mark that remains after that which made it has passed by—a footprint, for example. In other contexts shul is used to describe the scarred hollow in the ground where a house once stood, the channel worn through rock were a river runs in flood ''   -       A six hundred year old Tibetan text, The Miracle of Mindfulness

In the project ‘The Artists’ Landscape’, Tom Greenhalgh explores the romantic tradition of the idyll of which underpins the representation of the natural landscape. He searches for this idyll not through a representation but via a conversely approach with the landscape, the project is a continuous journey through-out the English Landscape as a means to discover his own idyll and experience of enchantment.

The project is influenced by painters such as John Ferneley of who holds a relationship with the project regarding the representation of place; the trace of the photograph over Ferneley’s depiction holds strength in its presence and as a means holds the essence of the natural experience rather than the illusionary. The representation and interpretation of the experience holds key to this research based project.

In relation to the photographic print,  he  explores the  analogue process and its relation to walking. The trace of his personal journey  is held in the photograph and opens up interest in how we view the work. The work opposes traditional composition in a lighthearted manner as a means for the audience to become captured in the process of conversation, the photographs hold an element of restriction as a means to emphasize and capture the moment of natural conversation.

The prints hold individuality through the distinct change in landscape; a narrative is not constructed in a way of which poetry is formed via text, in contrast to the fluidity of construction, the natural rhythm of the environment can be felt. The photograph are distinct limited edition prints of which consist of no duplicates, the extended processes of the of work intends to question the photograph as a means of representation but more importantly allows the viewer to expand there experience.

The work views the print as a relic of the meditative experience in contrast to the intellectual perception of a constructed narrative.  Greenhalgh looks to revise our perception by aiming to strip back the experience of the print, which looks to hold more than just a reproduction of a sight.