https://gkn.me.uk/photoartGrey Nicholsonhttps://gkn.me.uk/style/icon.svg2025-10-21T12:11:00+00:00 https://gkn.me.uk/photoart17localisedblackhole2008-02-25T05:10:00+00:002008-02-25T05:10:00+00:00 <figure> <img alt="A view up Calton Hill in Edinburgh: most of the Nelson Monument, a cylindrical tower, is in view. The path leading up the hill cuts a swath across the image, from the lower left corner away to the middle right. The whole image is distorted: the tower curves to the right, and the path bends and blurs downwards at the left side of the image." src="/photoart17localisedblackhole/photoart17localisedblackhole.jpg"/> </figure> https://gkn.me.uk/photoart16part32008-01-10T16:39:00+00:002008-01-10T16:39:00+00:00 <figure> <img alt="A digitally-altered view of the National Monument of Scotland at Calton Hill in Edinburgh — a row and two square corners of classical columns topped by lintels — viewed looking through the columns and upwards. The image's colours have been altered so the sky is pure white; the monument and its plinth are their natural sandstone colours, but with the contrast enhanced, so they're unnaturally bright in the sunlight and pure black in the shade." src="/photoart16part3/photoart16part3.png"/> </figure> https://gkn.me.uk/photoart16part22008-01-10T15:38:00+00:002008-01-10T15:38:00+00:00 <figure> <img alt="A digitally-altered view of the National Monument of Scotland at Calton Hill in Edinburgh — a row and two square corners of classical columns topped by lintels — viewed looking through the columns and upwards. The image's colours have been altered so the sky is a swirling mixture of dark reds, oranges and greens; the monument and its plinth are blue with black shadows." src="/photoart16part2/photoart16part2.png"/> </figure> https://gkn.me.uk/photoart16part12008-01-10T13:57:00+00:002008-01-10T13:57:00+00:00 <figure> <img alt="A digitally-altered view of the National Monument of Scotland at Calton Hill in Edinburgh — a row and two square corners of classical columns topped by lintels — viewed looking through the columns and upwards. The image's colours have been altered so the sky is pure white, and the monument and its plinth are pure black." src="/photoart16part1/photoart16part1.png"/> </figure> https://gkn.me.uk/photoart152007-07-09T03:44:00+00:002007-07-09T03:44:00+00:00 <figure> <img alt="A photo of some traffic-calming road furniture at dusk, with two black metal pole bollards, and two internally-illuminated white plastic bollards — except the nearer one has been replaced by an orange traffic cone, which is now internally illuminated too." src="/photoart15/photoart15.jpg"/> </figure> https://gkn.me.uk/photoart14justanillusioncausedbytheworldspinninground2007-07-02T18:03:00+00:002007-07-02T18:03:00+00:00 <figure> <img alt="A sunset over a residential street of two-storey houses, viewed along the street, which is lined with parked cars. There are a few heavy clouds in the distance, and lighter clouds texturing the sky. The sky is yellow at the centre, behind a protruding streetlight immediately above the rooftops, and fades through pale peach to duck-egg blue at the edges." src="/photoart14justanillusioncausedbytheworldspinninground/photoart14justanillusioncausedbytheworldspinninground.jpg"/> </figure> https://gkn.me.uk/photoart13part42007-07-02T17:49:00+00:002007-07-02T17:49:00+00:00 <figure> <img alt="A photo of HMS Trincomalee's 3 masts over the buildings of the maritime museum at Hartlepool marina. Between the 2nd and 3rd masts is a bright circular patch of sky, tinged yellow; the rest of the sky is a cool sky blue." src="/photoart13part4/photoart13part4.png"/> </figure> https://gkn.me.uk/photoart13part32007-07-02T17:48:00+00:002007-07-02T17:48:00+00:00 <figure> <img alt="A square, mostly-white photo; the centre is blank. The corners of the photo fade to sky blue. At the bottom-right corner is the top of a ship's mast. The same image as Thirteen, part 1, with the overexposed sun removed, and the sky recoloured." src="/photoart13part3/photoart13part3.png"/> </figure> https://gkn.me.uk/photoart13part22007-07-02T17:47:00+00:002007-07-02T17:47:00+00:00 <figure> <img alt="A wide landscape view: the tops of a ship's 3 masts against a bronze sky. Between the 2nd and 3rd masts is the brightest circular patch of sky; at its centre, a black disc with purple fringes — the view seen in Thirteen, part 1." src="/photoart13part2/photoart13part2.png"/> </figure> https://gkn.me.uk/photoart13part12007-07-02T17:46:00+00:002007-07-02T17:46:00+00:00 <figure> <img alt="A square, mostly-white photo, centred on a black disc with purple fringes. The corners of the photo fade subtly to brown. At the bottom-right corner is the top of a ship's mast." src="/photoart13part1/photoart13part1.png"/> </figure> https://gkn.me.uk/photoart12part52007-07-02T16:45:00+00:002007-07-02T16:45:00+00:00 <figure> <img alt="A tightly-cropped view of a small red-brick one-storey building, the same building from Twelve, part 1. One sunlit wall is visible, with a white door and opaque window. Above the building is a tall white pole with wires extending triangularly downwards." src="/photoart12part5/photoart12part5.png"/> </figure> https://gkn.me.uk/photoart12part42007-07-02T16:38:00+00:002007-07-02T16:38:00+00:00 <figure> <img alt="A photo of Hartlepool marina, another subset of the same photo as Twelve, part 1. The blue-sepia sky fills more than half of the narrow portrait photo. At the bottom in the foreground, brown paving, a low brick wall, a lamppost topped by a pair of globes side-by-side, and a black railing fence before the quay's water. Beyond the water is a row of low-rise apartment buildings." src="/photoart12part4/photoart12part4.png"/> </figure> https://gkn.me.uk/photoart12part32007-07-02T16:30:00+00:002007-07-02T16:30:00+00:00 <figure> <img alt="A photo of Hartlepool marina, another subset of the same photo as Twelve, part 1. The blue-sepia sky fills the top half of the portrait photo. At the bottom-right is part of a small single-storey building; the bottom-right corner of the photo is cropped to the building's front corner. To its left is a two-storey building mostly painted black, with a sign that says “Now Open on the first floor”, “Italian Café Bar” and “Fantastic Marina View” in red, white and green. There's a row of tall white poles that look like ships' masts alongside the black building, receding behind it into the distance. The nearest pole is connected to the black building by a trapezoid wedge of worn white rivetted metal, broader at the building, with 2 large circular holes — one of the “guillotines” from Nine. Between these buildings in the background, across the quay's water, is a low-rise apartment building." src="/photoart12part3/photoart12part3.png"/> </figure> https://gkn.me.uk/photoart12part22007-07-02T16:20:00+00:002007-07-02T16:20:00+00:00 <figure> <img alt="A view of the brown brick paving at Hartlepool marina. The image is digitally cropped to a wide irregular quadrilateral; the area outside is filled with flat medium grey." src="/photoart12part2/photoart12part2.png"/> <figcaption> <p>(An offcut from <a href="/photoart12part1">Twelve, part 1</a>)</p> </figcaption> </figure> https://gkn.me.uk/photoart12part12007-07-02T16:19:00+00:002007-07-02T16:19:00+00:00 <figure> <img alt="A view of Hartlepool marina, centred on a small red-brick single-storey building, viewed corner-on. The left wall is in shadow; the right wall is sunlit with a white door and opaque window. The image is digitally cropped along the top and bottom edges of the building's front walls, and those straight lines continue to the edge of the image, forming a wide irregular hexagon. Outside the cropped area the image is a flat light tan colour. To the left is the edge of another building, with a large sign that says “Italian Café Bar” in white and “Fantastic Marina View” in green. In the background is a quay, seen through a black railing fence, and beyond that, a row of low-rise apartment buildings." src="/photoart12part1/photoart12part1.png"/> </figure> https://gkn.me.uk/photoart11realitydistortionfield2007-07-02T14:26:00+00:002007-07-02T14:26:00+00:00 <figure> <img alt="A view of Hartlepool marina, taken at a wonky angle so everything is leaning right. Most of the image is the ground, paved with maroon bricks in a herringbone pattern. The nearby pavement is almost properly horizontal, but the quay and flats in the background are leaning about 30 degrees to the right. On the pavement, towards the right of the image is a cylindrical metal bin, sheared to more than 45 degrees. The straight line of the bricks curves gently around it." src="/photoart11realitydistortionfield/photoart11realitydistortionfield.jpg"/> <figcaption> <p>(This is as the camera captured it.)</p> </figcaption> </figure> https://gkn.me.uk/photoart102007-07-02T14:21:00+00:002007-07-02T14:21:00+00:00 <figure> <img alt="Shot at an angle of about 45 degrees, a paved area of Hartlepool marina, with a quay and flats in the background. In the foreground, Martyn photographs Gary, a short distance away, who photographs a detail on a small, colourful, inactive fairground ride. The scene has been cut around digitally, in an irregular freehand shape, and the area outside is filled with a flat light tan colour." src="/photoart10/photoart10.png"/> <figcaption> <p>Starring <a href="https://www.flickr.com/photos/two375/">Martyn Robertshaw</a> and <a href="https://www.flickr.com/photos/truthwithelegance/">Gary Owen Tumilty</a></p> </figcaption> </figure> https://gkn.me.uk/photoart92007-05-17T17:59:00+00:002007-05-17T17:59:00+00:00 <figure> <img alt="A view down a colonnade alongside a functional-looking building with large windows. The building is at the left, thin white-painted metal columns at the right. Alongside each column, descending from the colonnade's ceiling, is a trapezoid wedge of worn white rivetted metal, broader at the building and narrowing towards the column at the right — like a series of guillotine blades made from thick boxes of metal. Each wedge has 2 large circular holes, the left one larger. Between the columns, at the end of the colonnade, and in the reflections in the windows — everywhere you'd expect daylight — the image has been digitally cut out with rough pixelly edges, and is totally transparent." src="/photoart9/photoart9.png"/> </figure> https://gkn.me.uk/photoart8atasteofpower2007-04-04T06:04:00+00:002007-04-04T06:04:00+00:00 <figure> <img alt="Hartlepool power station at night, a broad cluster of brightly illuminated buildings occupying the horizon in the distance, with backlit plumes of steam; 2 pairs of red car light streaks, made by long exposure, mark the road in the foreground. The image has an artificial brushstroke texture applied, brushing the light colours rightward and the dark colours diagonally up-right, in digitally-thin extrusions. Compared to the original photo, which captures a realistic view of the power station, this remix turns the buildings into an abstract collection of artificial creamy-beige shapes and textures." src="/photoart8atasteofpower/photoart8atasteofpower.jpg"/> </figure> https://gkn.me.uk/photoart7electricalroom2007-04-03T07:44:00+00:002007-04-03T07:44:00+00:00 <figure> <img alt="The image is duplicated into 4 closely-overlapping images. It shows a sign with golden lettering that's clearly supposed to read “Electrical Room” (in all-capitals) but many letters are duplicated, so it appears as 2 rows that each say “EElleecctrricicacall RRoooomm”. The sign's rectangular golden border is also doubled and disjointed. On the dark wooden background, above the sign is a rounded rectangular shape that looks like dim orange lamplight, also duplicated. The image is textured with artifacts from the camera's capture quality." src="/photoart7electricalroom/photoart7electricalroom.jpg"/> </figure> https://gkn.me.uk/photoart62007-04-03T07:43:00+00:002007-04-03T07:43:00+00:00 <figure> <img alt="A junction of 2 residential streets: a house with a small front garden and low metal fence, and another street extending away behind it. There are a few parked cars. The image is grainy and dithered, like a low-quality ink printing on cheap zine paper. The colours are washed out and almost completely desaturated: the house's bricks look very faintly brown, and its grass looks like it might be dark green; the houses on the other street all appear white with indistinct outlines of doors and windows; the road surface is black with sharp white lines; the cars appear black white and grey, but could be any colour." src="/photoart6/photoart6.jpg"/> </figure> https://gkn.me.uk/photoart5moonlight2007-04-03T07:42:00+00:002007-04-03T07:42:00+00:00 <figure> <img alt="Among darkness: on the left, a small bluish-white circle; on the right, larger, a vertical lobe of orange light from a sodium streetlamp, with a hint of the outline of the lamp's structure immediately below — each surrounded by a cloud of blobs and blurs of blue and orange respectively. The image has a slight blue and green fabric texture, of artifacts from shooting in very low light." src="/photoart5moonlight/photoart5moonlight.jpg"/> </figure> https://gkn.me.uk/photoart42007-04-03T07:41:00+00:002007-04-03T07:41:00+00:00 <figure> <img alt="The top of a reddish-brown brick building, a square wall, with no visible rooftop. A corner is just in view to the left; the left side wall extends away out of the image, and the front wall falls gradually away throughout, to the right of the image. Just right of centre, protruding above the building's front wall is a small square tower viewed diagonally, about a metre tall like a chimney without chimneypots, and with a metal slatted grate at the top of each of the 2 visible side faces. On top of the front wall in front of the tower is a metal pole extending about 2 metres, with an aerial half-way up and another at the top, both pointing right, like an “F”. A pair of wires passes through the whole image in front of the pole and tower, parallel to the top of the front wall; another parallel wire ends attached to the pole. The sky is blue with a yellowish tint." src="/photoart4/photoart4.jpg"/> </figure> https://gkn.me.uk/photoart32007-04-03T07:40:00+00:002007-04-03T07:40:00+00:00 <figure> <img alt="A black square. In the central ninth there's a sticky note, square with slightly irregular edges, and a small notch near the right end of the bottom edge. It bears text written roughly in thick black marker pen, not clearly distinguishable, centred over 4 lines: “29 × 55 × 93” / “148.335” / “112 × 44 × 20” / “98.560”. The note appears white, grainy, dithered from almost-all bright white at the right, to almost black at the left." src="/photoart3/photoart3.jpg"/> </figure> https://gkn.me.uk/photoart22007-04-03T07:39:00+00:002007-04-03T07:39:00+00:00 <figure> <img alt="A view through blinds out of the top pane of a window. The blinds are made from thin stalks of bamboo, horizontal but irregular and not completely parallel; and 7 vertical pieces of string, not entirely straight. The roof on other side of the terraced street occupies the bottom two-thirds of the view through the pane, with a chimney in the right-hand half, and the rest is light blue sky, washed out to white near the left. The image is blurry and frequently overexposed." src="/photoart2/photoart2.jpg"/> </figure> https://gkn.me.uk/photoart12007-04-03T07:38:00+00:002007-04-03T07:38:00+00:00 <figure> <img alt="Mostly black, just wider than square. In the bottom-left corner, not quite touching the edge of the image, there's an over-exposed white square, somewhat less than half the image's width and height, with slightly irregular edges, and a small notch near the right end of the bottom edge. There's a large patch of white flecks in the upper right, captured by the camera but not identifiable as any particular thing." src="/photoart1/photoart1.jpg"/> </figure>