Stan Bowman

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Structuring Securily • Stretched Canvas Print • 46″×37″ • $900

Spacing Spheres • Stretched Canvas Print • 46″×37″ • $900

Clear Arrangement • Giclée Print • 27″×23″ Plexi Framed • $450

Circling • Giclée Print • 27″×23″ Plexi Framed • $450

Changing MatterImage • Giclée Print • 27″×23″ Plexi Framed • $450

Processed With Darkroom • Giclée Print • 27″×23″ Plexi Framed • $450

Floating Attitudes • Giclée Print • 27″×23″ Plexi Framed • $450

Deciding • Giclée Print • 27″×23″ Plexi Framed • $450

Cone Reflection • Giclée Print • 27″×23″ Plexi Framed • $450

Color Splash • Giclée Print • 27″×23″ Plexi Framed • $450

Mesh Motion • Giclée Print • 27″×23″ Plexi Framed • $450

Jaggy Things • Giclée Print • 27″×23″ Plexi Framed • $450

Hovering Wishes • Giclée Print • 27″×23″ Plexi Framed • $450

Green Arrangement • Giclée Print • 27″×23″ Plexi Framed • $450

Puzzle • Giclée Print • 27″×23″ Plexi Framed • $450

Plate Techtonics • Giclée Print • 27″×23″ Plexi Framed • $450

Open To All • Giclée Print • 27″×23″ Plexi Framed • $450

New Perspective • Giclée Print • 27″×23″ Plexi Framed • $450

Spherify • Giclée Print • 27″×23″ Plexi Framed • $450

Revolving Vision • Giclée Print • 27″×23″ Plexi Framed • $450

Reinforcement • Giclée Print • 27″×23″ Plexi Framed • $450

Recognizable • Giclée Print • 27″×23″ Plexi Framed • $450

Rising Stack • Giclée Print • 27″×23″ Plexi Framed • $450

Space Float • Giclée Print • 27″×23″ Plexi Framed • $450

Single Tube • Giclée Print • 27″×23″ Plexi Framed • $450

Searching All Corners • Giclée Print • 27″×23″ Plexi Framed • $450

Zoom To The Right • Giclée Print • 27″×23″ Plexi Framed • $450

Wrap Around • Giclée Print • 27″×23″ Plexi Framed • $450

Tube Contrasts • Giclée Print • 27″×23″ Plexi Framed • $450

Stacking Tall • Giclée Print • 27″×23″ Plexi Framed • $450

Arranging Levels • Giclée Print • 27″×23″ Plexi Framed • $450

Stan Bowman

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Snowy Afternoon • Acrylic & Ultrachrome ink on canvas • 24″×18″ • $850

Ridgeline—Early Spring • Acrylic & Ultrachrome ink on canvas • 18″×26″ • $850

First Violets • Acrylic & Ultrachrome ink on canvas • 12″×12″ • $425

Cryptic Toad • Acrylic & Ultrachrome ink on canvas • 12″×12″ • $425

Orchard Grass • Acrylic & Ultrachrome ink on canvas • 30″×30″ • $950

Forest Pool • Acrylic & Ultrachrome ink on canvas • 20″×16″ • $650

Buttercups • Acrylic & Ultrachrome ink on canvas • 10″×10″ • $300

Musk Mallow • Acrylic & Ultrachrome ink on canvas • 10″×10″ • $300

Chicory • Acrylic & Ultrachrome ink on canvas • 10″×10″ • $300

Chicory & Queen Anne’s Lace • Acrylic & Ultrachrome ink on canvas • 18″×12″ • $525

Glowing Beech • Acrylic & Ultrachrome ink on canvas • 20″×16″ • $650

Sunny Day • Acrylic & Ultrachrome ink on canvas • 20″×16″ • $650

Backyard Trees • Acrylic & Ultrachrome ink on canvas • 18″×26″ • $850

Fall Ferns • Acrylic & Ultrachrome ink on canvas • 18″×12″ • $525

Young Spruce • Acrylic & Ultrachrome ink on canvas • 18″×24″ • $850

Blue Reaper • Acrylic & Ultrachrome ink on canvas • 20″×16″ • $650

Abandoned Marchine • Acrylic & Ultrachrome ink on canvas • 20″×16″ • $650

Blue Machine • Acrylic & Ultrachrome ink on canvas • 20″×16″ • $650

Wheels, Sumac • Acrylic & Ultrachrome ink on canvas • 20″×16″ • $650

Harlequin Tree • Acrylic & Ultrachrome ink on canvas • 18″×26″ • $850

Susan C. Larkin•Up the Hill(sugar maple)•ArchivalMetalPrint•30″x36″•$400

Susan C. Larkin•Logs in the Snow•Archival Digital Print•24″x20″•$300

Susan C. Larkin•Diagonal Tree Fall (sugar maple)•Archival Digital Print•24″x20″•$300

Susan C. Larkin•Sculpted Stump•Archival Digital Print•20×24•$300

Susan C. Larkin•Log Fragment•Archival Digital Print•20″x24″•$300

Susan C. Larkin•Stump Beside a Field (white pine)•Archival Digital Print•20″x24″•$300

Susan C. Larkin•Moss Mound (black birch)•Archival Digital Print•20″x24″•$300

Susan C. Larkin•Tree Along the Driveway (red maple)•Archival Digital Print•24″x20″•$300

Susan C. Larkin•Veteran Maple•Archival Digital Print•20″x24″•$300

Susan C. Larkin•Old Fence #3 (sugar maple)•Archival Digital Print•20″x24″•$300

Susan C. Larkin•Old Fence #7 (white ash)•Archival Digital Print•20×24•$300

Susan C. Larkin•Old Fence #1•Archival Digital Print•20×24•$300

Susan C. Larkin•Old Fence #4 (sugar maple and white ash)•Archival Digital Print•24″x20″•$300

Susan C. Larkin•Old Fence #5 (black cherry)•Archival Digital Print•20″x24″•$300

Susan C. Larkin•Old Fence #2•Archival Digital Print (white ash)•20″x24″•$300

Susan C. Larkin•Old Fence #6 (sugar maple)•Archival Digital Print•20″x24″•$300

Susan C. Larkin•Old Fence #8•Archival Digital Print•20″x24″•$300

Susan C. Larkin•Stump Along the Driveway (white pine)•Archival MetalPrint•30″x36″•$400

Susan C. Larkin•Pine Root (white pine)•Archival Digital Print•20×24•$300

Susan C. Larkin•Intertwined (sugar maple)•Archival MetalPrint•30″x36″•$400

Susan C. Larkin•Stump on Bailor Road•Archival Digital Print•20″x24″•$300

After doing primarily digital work for the last ten years, I’ve been experimenting with a new (for me) way of including traditional paint in my work. For the past six months I’ve been combining digital prints with acrylic paint. I start with reference photos I’ve taken over the years, cropping, cutting and pasting, and then doing some computer work with filters and adjustments to set up the composition for a satisfactory piece. Then I print the image on canvas, stretch the canvas, and begin painting with acrylics. One of the filters I like to use in the set-up both flattens the image and reduces its color saturation, so part of the acrylic painting process includes increasing the illusion of depth and expanding the color range. Of late, I have enjoyed the effect of using small patches of color to create a kind of impressionistic collage, although sometimes the desire to bring out detail comes to the fore, and I include some realistic rendering.

Returning to the use of actual, real, wet paint in all its glorious color and messiness has been a great pleasure, and has reminded me that working with real material has some qualities that the digital experience cannot replicate. Particularly in this pandemic year, it’s been satisfying to stand in front of the easel with paintbrush in hand, rather than sitting in front of the screen to make artwork in addition to all the other activities one does in front of the screen.

Most of these images are derived from local areas, from woods and fields in Tompkins County, some close to my house. A few are from further afield, although within a day’s drive. I’ve been attracted to the same subject matter for over fifty years—the textures and environments of trees and grasses, and the light illuminating them. These are endless in their variety and fascination, when I slow down and really look.

Frances L. Fawcett
November, 2020
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Purchase my art at the SoAG Online Store.

For forty-eight years we have lived on the same hill in the town of Caroline, surrounded by acres of trees including, maple, ash, cherry, and pine. Some of the woods have been forested wisely and some are drifting through years of benign neglect.

Recently I have started paying attention to individual trees—some still alive, some dead, and some only stumps. Shapes, textures, curves, and faces have popped into view on the same trees I have passed by for years.

Each tree has a story. I’m fortunate to have the chance to imagine what that story might be. I try to find the best angle and best light to make the picture I see in my mind. The tree is quiet and doesn’t have human wishes to just get on with it. If I’m unhappy with the picture I take on one day, I come back and try again. After returning to the same spot many times, a sense of place begins to grow. I settle in to wait for best light and just be there.

Most mornings I sit at home for twenty minutes to practice thinking of nothing. Just sit—no thoughts. When thoughts arise, let them go. My morning expeditions into the woods, the time of best light, were interfering with my practice until one day, after the light became too bright, I simply stopped. For twenty minutes I rested on a log—eyes closed, empty mind. Trees communicate without words. Slow down, listen to the trees and the creatures that call them home. For me, peace settles in that place, even during a year when so much trouble surrounds us all.

Susan C. Larkin
November, 2020
Email me.
Purchase my art at the SoAG Online Store.


Bailor Road Second edition

By Susan C Larkin in Caroline, NY

44 pages, published 11/1/2020

Photographs of trees, seed pods, flowers, junk, and an old foundation—all on the same piece of land in upstate New York—not too far from home.

I grew up in California, USA, received a BA in Architecture in 1964, and a MFA in photography from the University of New Mexico in 1973. Following graduation I was appointed as a professor at Cornell University in the Art Department where I taught photography and digital imaging for almost 30 years. In 1999 I retired to pursue my career as an artist full time.

My works have been exhibited nationally and internationally for over 40 years as a photographer, painter, and digital artist. My artwork is in such collections as the San Francisco Museum of Art, Bibiliotech National in Paris, German Photographic Society, and many other locations.

I consider myself currently to be a digital montage artist as I assemble images digitally. Sometimes I use photo’s and sometimes I create in a program on the computer from scratch. I have used a flatbed scanner extensively to scan objects digitally with high resolutions into a computer where I enhance their visual characteristics. I then digitally collage and layer these scans in Adobe Photoshop, adding, altering and collaging for emphasis and interest. Recently I have been creating shaped artworks composed of layers of ink jet giclee prints on canvas, sometimes stretched on wood frames and more recently glued down on a new plastic sheeting material.

Media, sizes and prices vary. Please contact me for details.

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