As we saw in the last show Peter Marr is an accomplished photographer in his own right with his exhibit of natural bird photographs. He is also an experienced judge and for each of our shows he reviews all of the photographs and picks of his favorites from the photographs by the guest photographers. For each of "Peter's Picks" he writes a review, and we have excerpts from his discussion here in the newsletter. You will want to go to the webpage link to see larger images and Peter's full write-up, or, certainly better, be sure to visit the gallery to see them in person.

In introducing the show Peter commented "The portfolios in this exciting display by eight very talented photographers, show a diversity and creative mastery that is both impressive and uplifting."

Peter chose Mary Alice by Nancy Guzauski commenting "I have long admired Nancy's poignant and haunting photographs of derelict mental institutions. As superb as these pictures were, there was always understandably, the omission of the human element. Thus it was left to the viewer to use their own imagination to listen to the unspoken stories of the subjects, so that at least one could conjecture about life in these buildings. Bravely, Nancy has given us in this portfolio, for each interior shot chosen, the superimposition of a photograph of an actual patient who resided there. In "Mary Alice", we see her ghost-like figure, dressed in a pale-lilac dress, standing, arms crossed, at the right edge of the frame, in the stark setting of what seems to be the sewing room."

Turkey-Tail Mushrooms by Susan C. Larkin

In Susan C. Larkin's photograph Peter commented that the "Intimate details of flora have been lovingly and impressively captured by Susan in her excellent portfolio presentation. We value wild nature in its place, and using consummate artistic skills, a lot of patience, and cutting-edge technology, she has given us eight images that show amazing structural detail, color, shape and form. In Trametes versicolor, Turkey-Tail Mushrooms, it is very apparent that we all carry a sense of wonder at how exciting nature close-ups are, and if we listen carefully, we can surely here the story they have to tell. This group of fungi has interwoven a spectacular range of shapes and textures that impressively play against one another. The eye is not directed to one particular area, but allowed to wander effortlessly in and around every curve and surface texture."

With Rick Mearn's From the Earth Below, - at left - Peter observed that "Rick's exquisite photographs of some of the hydrothermal features found in Yellowstone National Park are absolutely breathtaking. One definitely has a feeling of the primeval in experiencing terraced springs, steaming fumaroles, boiling hot pools, and views in the caldera basin, that all convince us that this is an environment not made with hands, that seems more fantasy than reality. The untouchability and grandeur of nature at its finest, is majestically displayed in From the Earth Below. The powerful upthrust of the travertine monolith, with its complex structure of flowing lines, curves and terraces, features which are wonderfully delineated by the rich palette of colors emanating from the timeless work of living organisms, algae, bacteria and minerals. Above this active, terraced mound, there is a dramatic sky which embellishes the eeriness and unreality of the image."

A photograph by Todd Moon was Peter's next -- "I chose Garden in the Sky to comment further on, mainly because it has the largest expanse of sky, which allows our thought processes to be less affected by boundaries or constrictions. The circular center of this print contains imposing rows of houses and formal gardens, effortlessly revolving around a circular fountain structure, which is itself completely surrounded by orderly pinkish-red bricks. One is constantly aware of the circular motion and symmetry, although each arc segment is sharply broken up by the intrusion of triangular-shaped gardens, all pointing to the central hub. Furthermore, the tall vertical building adds a definite degree of incongruity. What is fascinating is that the large expanse of sky and clouds are also configured in a circular pattern. Everything is in dynamic motion, with the circular fountain as the fulcrum, and the tall building as the lever."

The last of Peter's Picks is by Katherine Nicosia, "The lovely intimate portraits of "slices of life" take on an added magical dimension, by deliberately altering the SX-70 film during development. The technique is not new, but it has been used exquisitely here to give us poignant, aesthetic images, that any artist from the impressionism period would have been proud to have painted. It is well known that photographers and painters see more, because they are looking for more, and indeed, every time you look at Katherine's prints, you see something different. Her prints effortlessly transport us back to our own childhood years, allowing us to arouse and excite the sub-conscious, so that we can reminisce about times long past.....for in The Three of Us, an equally magical print, the innocence, exuberance and wonderment of youth is beautifully captured, as three young children absorb themselves completely, in exploring the interplay of sand and water. ...... We witness a priceless moment of calm and excitement, of innocence momentarily isolated from this restless, complicated world. Artistically, this is a painting nonpareil, and we are forever grateful for every twist and turn of the stylus that the artist used, to persuade the emulsion to give us this outstanding image.

We are again very grateful to Peter Marr's considerable investment of time in the effort to review each of the photographs in our exhibits and to produce the reviews of his picks that we all enjoy!