Therefore all seasons shall be sweet to thee,
Whether the summer clothe the general earth
With greenness, or the redbreast sit and sing
Betwixt the tufts of snow on the bare branch
Of mossy apple-tree, while the nigh thatch
Smokes in the sun-thaw; whether the eave-drops fall
Heard only in the trances of the blast,
Or if the secret ministry of frost
Shall hang them up in silent icicles,
Quietly shining to the quiet Moon.
~ Samuel Taylor Coleridge, Frost at Midnight
For the two years I attended trade school at Algonquin College, Perth became my second home. Between classes I photographed the countryside, explored abandoned buildings, foraged in antique shops and became a regular visitor to Riverguild’s mezzanine, concocting a mental list of the works I would buy from artist Franc van Oort when I’d finished spending money on my greedy old house. Continue reading 360° of Franc van Oort (Pt. 1)
Note: There is now a Part 1 which can be found here.
Don’t go looking for Part 1 of this piece because it has yet to be written. I am exercising my right to choose the cadence and order of storytelling; here the order is immaterial except for the lack of a formal introduction of artist Franc van Oort, and an explanation of our Six Degrees of (Circuitous) Separation.
The good news is this is a self-explanatory pictorial essay about the life-size camera obscura, Eyebox, van Oort has installed outside of Perth, Ontario as part of the open-air fieldwork collection of multi-media land art. Months ago, I had the good fortune to check out the prototype in his studio and I’ve been waiting for a blanket of snow – and preferably a bright sunny day – to check out the real thing. With our mild and grey fall and winter weather a timely visit was bumped. And bumped. And bumped again. Sun or no sun, I could wait no longer. Continue reading 360° of Franc van Oort (Pt. 2)