NEW WORK: Manly Beach I, 2013

Manly Beach I  is one of eight brand new works in my latest series of Impressionist works, inspired by Nancy Kilgour’s Impressionist painting, Untitled (figures on Manly beach), c. 1930.  I was drawn to her ability to project the reflective mood and emotional impression of life on Manly Beach.  There is also a prevailing ability in her work to slow time down, which captivated me.

In Manly Beach I, I seek to slow us down to a pace where we can celebrate the overall mood and impression of enjoying life in the sun on Manly Beach.  Using my lens as a paintbrush, I have used a variety of self-taught, in-camera techniques to free light and colour from their living stasis to paint this scene.  

Like all of my work, this photograph is raw and untouched (no Photoshop), producing a fresh, contemporary twist to modern day Impressionism and Pictorialist photography.  Limited Edition of 10 Archival Prints.

The full series of Manly Beach will be released in November 2013.

Cade donates artwork to fight Aussie kids cancer

For the second year in a row, I was thrilled to donate the first edition of City Lights II (2009) to raise critical funds for the Children's Cancer Institute of Australia (CCIA).  At the annual Diamond Ball in August in Sydney, we manged to raise well over half a million dollars.

These funds play a significant role in the future approach to childhood cancer - the development of a Personalised Medicine Program.  This program will enable researchers to identify treatments tailored to the individual characteristics and biology of a child's cancer, incorporating drugs that have the greatest likelihood of successfully treating each child's cancer.

Next year, I have decided to increase my support by donating another large artwork and I have also booked a full table of ten for the 2014 Diamond Ball.  If you would like to join me, please get in touch as my table is almost full!  For more information on this incredible organisation, visit www.ccia.org.au 

Cade Turner Podcasts - My Technique and Inspiration

I am someone who likes to hire the audio guide when I attend exhibitions. I find the insights into the artist or subject help set the scene and allow me to gain a deeper understanding and appreciation of what I'm viewing. With this in mind, I have decided to record 2 audio tracks for my upcoming exhibition, Symphony of Light. The first track explores the concept behind Symphony of Light and my interpretation of each artwork, the second track explores my unconventional photographic techniques.

If you would like to listen to these files now or download them ready to listen to at my exhibition or at a later date, simply click on the below or go to my sound cloud profile https://soundcloud.com/cade-turner

SNEAK PEEK - SYMPHONY OF LIGHT SOLO EXHIBITION 2013

I'm excited to announce my impending solo exhibition, Sympony of Light, at Depot II Gallery, 2 Danks Street from 23 July - 3 August 2013. Inspired by the great Joseph Mallord William (JMW) Turner, I've produced a series of heart-felt, evanescent landscapes which were created completely in-camera, where elements of natural light and colour are freed from reality, delicately unveiling new visual symphonies, rich with mystery, beauty and romantic grandeur.

Under the same roof at Depot II you will also see my friend and revered painter, Matthew Weatherstone's solo exhibition, intimate expanse. Matthew also shares my passionate connection with natural light and his works are a contemplation of nature as both an allegory and object of inquiry, revealed and obscured by light, distance and darkness, ever the fount of mystery and wonder.

Exhibition details -
Location: Depot II Gallery, 2 Danks Street, Waterloo, NSW, 2107, Australia
Opening Night: 6-8pm, Tuesday, 23rd July, 2013
Opening Times: Tuesdays - Saturdays, 11am - 6pm, 23 July - 3 August 2013
More Information: Cade Turner 0415 887 637

CADE’S TURNING LIGHT - Guest Post by Emily McIntyre

Virga, 2013, Cade Turner

It was once written about J.M.W. Turner's work that it was proof of an original mind. Although ensuing modest claims that Cade Turner is his modern contemporary, both Turners share an innate desire to capture the essence of light and its movement.

Both rimming on the cusp of their fellow artists, the Turners push the boundaries of their traditional mediums. However, it's not all rock and roll - both artists have spent years learning the rules of their art. First learning to use their mediums by the book and aware of the artistic boundaries, they then used this knowledge to go where their mediums have never gone before. Should it be by complete coincidence the Turners' are exhibiting simultaneously is another story, but as Cade recalled his recent trip to Turner from the Tate: The Making of a Master, at the National Gallery of Australia in Canberra, I was intrigued to observe his creative process first hand and witness his method.

Following Cade to a nearby abandoned train pedestrian underpass, I watched him become entranced by the light and environment on the scene. Like a moth to flame he fluttered and became consumed by the transitions and variations of the colour spectrum. Asking him to talk through his thoughts, I felt like I was intruding into a private realm - words seem to fail to express the emotion and vulnerability of the site, his reactions and what he was feeling. Working with what he had on hand - his iPhone!- Cade was engulfed by the present moment.

Earlier in the day, Cade had shown me his new prints for his upcoming exhibition: Symphony of Light. Almost speechless, in his new work he transforms and captures living moments that are caught in a living stasis, raw with a unique perspective. His work is photography focused on a fresh angle- and they are untouched. Cade has boldly veered away from using any touch ups- all his works are raw and captured as is- which creates exquisite living realms that evoke a full spectrum of emotion.

It is clear that Cade has grown in his art. His earlier works such as Day at the Beach (2010) and Lolly Lights (2010) highlight his transition in influence from Impressionism to Romanticism. Shifting from capturing light and depicting its changing qualities, Cade is now investigating and telling light's story. His heightened focus on the multi-faceted nature of light and its reflection, like J.M.W. Turner, has brought Cade to a new level in capturing a breathing moment. In his upcoming exhibition Symphony of Light, works such as Virga (2013) and Convergence (2013) clearly show his hand has shifted from altered, fractured impressions and texture to capturing microcosmic electric pyramids of light and colour. 

Convergence (2013) evokes a violent fantastical realm of a dreamy, constant suspension. There is a haunting richness and likeness to J.M.W. Turner's Chain Bridge over the River Tees (c. 1825-36) where the force of a river is expressed through using light and its nuances. Rather than depicting the water's flow, J.M.W. Turner has expressed its force and its apparent catastrophic power by studying the light, its reflections and its subtle movements.

J.M.W. Turner often accompanied his work with poetry and Cade's alternate muse lives in the realm of music composition. Cade's creativity seems to share a symbiotic relationship between his music and art- which is arguably inseparable in his eyes and is admittedly contagious.

Although centuries apart, the Turners share an incredible propensity to discover and capture the explosive sensitivity and meaning in light that the everyday eyes often miss. Cade's attention to even the slightest difference in gradient creates a never-ending rich palette of colour. Symphony of Light, exhibiting from July 23rd until August 3rd at Depot II Gallery, marks the next chapter in Cade's photography: much more than proof of his original and creative mind.  

For more information, visit www.cadeturner.com

New Work: North Head (2012)

       

North Head (2012) is a series I began at North Head Sanctuary, located in Manly on Sydney's Northern Beaches last November.  These gentle landscapes are inspired by the great painter of light, Joseph Mallord William (JMW) Turner.  JMW Turner has taught me to appreciate the incredible richness and variety of colours that can be found in the softest of tones, created by natural flora and fauna.  With the naked eye, many of these colours are difficult to see.  By decontextualising the scene in-camera, I am able to free the light and colour from their fixed and precise position, allowing them to live and swim more freely, giving the work added depth, colour, energy and emotion.

New Work: La Piscina

       

La Piscina (The Pool) (2012) was captured at Collaroy Rock Pool last November at the break of day.  As with all of my work, these have been captured completely in-camera (no post-production work). 

As a series of two works, it is the latest from my oldest style, Intermission, developed from 1998.  It originates from my fascination for searching for hidden scenes during mid afternoon, away from the action, while life is perceivably happening somewhere else or at other points in time.  For me, this is a golden time when light casts vibrant colour and angled shadows, bringing a new and mysterious mood, sense of meaning and significance to particularly insignificant ‘moments in between’.   

Intermission is largely influenced by American Realist, Edward Hopper (1882-1967), Australian artist,  Jeffrey Smart (born 1921), and UK-based album artist and designer, Storm Thorgeson (born 1944) who is known for Pink Floyd's iconic album covers, including Dark Side of the Moon (1973).