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[1] the gate at lake newnan captures the local color of landscape at a particular, temporal moment

[2-3] details of the gate and surrounding landscape; the fence, the gate, and the trees all become subjects within the space

[4-9] chronological sequence and structural build-up of the remembered landscape

[10] detail: behind the park there is a road
edged by a punctured fence
whose crevices and crooked limbs frame the lapse of shadow wilting light;
a temporal museum

[11] detail: the opposing border faces a drooping ledge. the road is lifted here, so that in passage
I meet amputated trees
torso to torso

[12] detail: two brother lights gamble existence with time, slivered remnants,
bruises of the abusive noon sun

[13] detail: how sorrowful is the red of dusk, plastering its wail upon trunks, an effusion of blush on dirt.
it must die to the blue evening, reborn to purple night

[14] detail: when it rains
the ground is lathered in decaying washes that kneed the step with an uncomfortable softness,
like walking on mealy apples.
the waters wax the between
until the ledge is eclipsed by
the reflected

[15] detail: leaves flock to a stillness
poised for a moment
to carry sky in a paper goblet.
a thousand Ophelia’s in yellowed gowns

[16-25] details of the remembered landscape

[26-28] the unattainable experience of lake newnan

[29-32] study for the gate at lake newnan and its details

vista | scenery| examination of the natural world

the painted image of the natural world belongs to the landscape. some intend to collect the local color of place, while others reach further into the nuances of the remembered and imagined landscape of place

“What is one to think of those fools who tell one that the artist is always subordinate to nature? Art is in harmony parallel with nature.”

— Paul Cezanne