100 Portraits 2017: friendship

heather and jill3

This is a group of people who are dear to my heart, as well as camera shy. I suggested they have their portraits done together, as they’re pretty much one big family anyways. Lots of barefoot love here 🙂
Portrait #4 in this black and white film series.

100 Portraits 2017: Erica

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If you don’t believe in forest Faeries, you’ve never met Erica. She’s magical.

35mm Ilford HP5, unfiltered, unretouched, scanned with Epson V550

Nikon FA, Tamron SP 28-80 @ f5.6, shutter speed 1/250 with Nikon SB-15 speedlight, TTL

100 portraits 2017: troy, beth and anwyn

troybethandanwyn

The second of 100 black and white film sessions, this candid photo stood out to me as an endearing moment in every parent’s life; the busyness, the entertaining, the adoration, the absolute trust, treats and every child’s best effort to live a life lived at full strength in the light of their parents’ love. I loved the brief time I had photographing this family.

Technically, I also like the artifacts present in this photo: the emulsion rubs, the squeegee mark all the way across the frame, the blown-out highlight on Anwyn`s cheek, the water stain in the top right corner. To me these just make it more ‘filmy’ but also tell me I`ve got a few bugs to work out of my process…

In the end, I`m going for feel and personality more than technical perfection. For me, this pic delivers just that.

S.

100 portraits 2017: lydia

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As a follow-up to a project I did in 2011 called ‘100 portraits in 20 weeks‘, in which I painted or drew 100 small portraits from profile pictures of fellow bloggers who commented on my blog, (I was successful in meeting my goal and connected with many amazing people), I am commencing a second project in kind. This time I’m following my love of photography and making 100 portraits using my old Nikon FA and good old black and white film. No filters, no touch-ups, no jazzing up. I wish I could go analog all the way but I’m scanning the film to share with the world digitally. My goal is again to finish in 20 weeks, as 5 photoshoots and scanning sessions a week is enough for me. Follow along and feel free to give me some feedback!!

Portrait #1. This is my girl. Of all the photos I took of her I chose this one because she has always been my laughing girl and I feel that this shot embodies her joy of life perfectly. Keep laughing Lyds! Love you

“Yes, she said”

“Yes, she said”, wood, ink, oil and varnish, 22″ x 70″ x 5 1/4″ Price $2200

This was my first large scale binary piece. I had a clear design from the start and had a ton of fun making it. The support has a convex curve, made with 1/4″ ply stretched over a ribbed substrate. The frame around it is walnut with an oil finish (top and bottom) and the sides are beech stained black with India ink. The title, “Yes, she said”, (which is what this piece  spells out in binary code) was selected for its brevity and open-ended meaning. A lot could be derived from it, but generally, a positive vibe.

If you are interested in purchasing this piece or inquiring about a commission, please contact me at scotthamiltonart@gmail.com. Thanks for visiting!

Below is a link to a short film that my son made for a media program he was in that features the making of this artwork. I think he did a great job.

 

colour conversation III, order/disorder

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“colour conversation III, order/disorder” 13.5″ x 15.5″ x 2″ acrylic on wood (sold)

This piece was an exercise in process and design for me, as well as being really fun deciding on the colour makeup and mixing 25 distinctly different colours that (I think) go swimmingly well together. One of my favourites.

This piece is sold but if you are interested in inquiring about a commission, please contact me at scotthamiltonart@gmail.com. Thanks for visiting!

colour conversation, blue influence

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“colour conversation, blue influence” 38.5″ x 16.75″ (978mm x 425mm) acrylic and stain on wood. Price: $1200 + shipping

As a woodworker it always breaks my heart to throw away all of the beautiful scraps of wood that inevitably end up in the bin after a cabinetry project or piece of furniture. Wood is just freaking beautiful, and an amazing material to work with. Seemingly simple in construction, a lot of hours and creative choices went into this assemblage. Enjoy the slide show below to follow some of my thoughts and choices along the way.

If you are interested in purchasing this piece or inquiring about a commission, please contact me at scotthamiltonart@gmail.com. Thanks for visiting!

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blank white page

andy
“blank white page” 16″ x 25 3/4″ image size (406mm x 654mm) mixed media on paper $800 framed + shipping

“Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art.”

This is the quote in binary code buried under the painted squares of this artwork.I saw it, loved it, and had to express it in a way fitting for me to express. Why is the binary code covered? In the nature of Andy’s insistence that his work was devoid of meaning, often comprised of rudimentary washes of colour over stolen images, (he even called his studio ‘the Factory’), I thought the visible code a bit too literal and inappropriate. I even thought twice about offering this explanation of it… It is rumoured that he wanted his tombstone to simply state, “Figment”.

But thank you for the resoundingly simple and solid advice that brought me around to begin producing art again Mr. Warhol.

“I am a deeply superficial person”- Andy Warhol

If you are interested in purchasing this piece or inquiring about a commission, please contact me at scotthamiltonart@gmail.com. Thanks for visiting!

introduction to a tragedy

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“introduction to a tragedy” 61″ x 38″ (1549mm x 965mm) acrylic on wood. $2500 + shipping

This piece is literally the opening sentences to a tragic love story, expressed in binary code, read top to bottom, left to right. Each 4″ section of every column represents one number in the sequence. The raised pieces are zeroes, (or “offs”), the recessed pieces are ones, (“ons”).  The green field was simply too much to leave uninterrupted, so two key words are in yellow outlined in black for definition. The raised orange segment in the centre is valueless, except that it brings visual colour contrast to the piece and carries the orange panel sides which you can see in the slideshow below. If you are interested in purchasing this piece or inquiring about a commission, please contact me at scotthamiltonart@gmail.com. Thanks for visiting!

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