Stephanie McBride regards Norman McCloskey’s unpeopled images that expose the West of Ireland landscape in all its temperaments
Norman McCloskey Driftwood, Lough Leane 2013 giclée archival print 120 x 90cm
Sometimes Kenmare-based landscape photographer Norman McCloskey sets out with ‘a pre-visualised idea of an image that I want to make at a specific location in certain conditions‚’. More often than not, though, he will head out to local surroundings around the south-west of Ireland with a sense of exploration, hoping that the light will inspire him on the day. Among his influences are English photographer Jem Southam and American photographers Ansel Adams and Joel Meyerowitz. ‚'[Southam] had a direct and very definite impact on me,‚’ he says. ‚'[He showed] that I needed to work in a landscape I had a real connection to and affinity with – rather than travel all over searching for locations.‚’
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Sometimes Kenmare-based landscape photographer Norman McCloskey sets out with ‘a pre-visualised idea of an image that I want to make at a specific location in certain conditions‚’. More often than not, though, he will head out to local surroundings around the south-west of Ireland with a sense of exploration, hoping that the light will inspire him on the day. Among his influences are English photographer Jem Southam and American photographers Ansel Adams and Joel Meyerowitz. ‚'[Southam] had a direct and very definite impact on me,‚’ he says. ‚'[He showed] that I needed to work in a landscape I had a real connection to and affinity with – rather than travel all over searching for locations.‚’
Marcel Vidal finds that a thread of instability runs through Freida Breen’s sculptural practice
Julian Walton and William Fraher explore the magnificent Curraghmore House in County Waterford, where, three hundred years ago, the union of two families produced the most powerful dynasty in late Georgian Ireland
