Got back into my photography recently. here’s one from the other week after a stroll around Kirkstall Abbey in Leeds.
Made some souvenirs too from it - redbubble.com/shop/ap/144425485?asc=u
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Autumn at Kirkstal Abbey, Leeds. #kirkstall #kirkstalabbey #historicbuildings #abbey #sunnyday #autumndays🍁 #window #shadow #archedwindows #stonework https://www.instagram.com/p/CkQi6gLMK7p/?igshid=NGJjMDIxMWI=
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Walter Meegan - Kirkstall Abbey by moonlight (ca. 1880-99)
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Kirkstall Abbey, Yorkshire by Thomas Girtin (1775 - 1802)
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Kirkstall Abbey by Moonlight (Walter Meegan, 1880s)
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Crypt of Kirkstall Abbey (Liber Studiorum, part VIII, plate 39). February 11, 1812. Credit line: Harris Brisbane Dick Fund, 1928 https://www.metmuseum.org/art/collection/search/382942
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North East Prospect of Kirkstall Abbey
Johann Baptiste Bouttats (c.1680–1743) (attributed to)
Abbey House Museum, Leeds Museums and Galleries
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George Lambert, Kirkstall Abbey, Yorkshire, 1747
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Six of Swords. Art by Tom Glencross, from The Leeds Tarot Card Project.
“Before working on my own design for the Six of Swords, I was primarily inspired by Pamela Colman Smith’s incredible visions for the Smith-Rider-Waite Tarot deck, and by Rachel Pollack’s interpretation of the Six of Swords in her text ‘The Seventy Eight Degrees of Wisdom.’ Like all of their drawings, Smith’s image for the Six of Swords is richly layered and offers many lessons to learn.
As the Tarot has historically been used for divination and guidance, I wanted to create layered collage made up of physical and totemic objects. Instant photographs have a magic alchemical nature. Velvet is a material known for its ability to beguile and entrance by absorbing light and giving an illusion of impossible depth.
There are three unlit matches, but their potential faces downwards to the earth where they cannot be ignited. A further three burned matches make a total of six, though they point upwards, extinguished and useless. The Tarot is built from contradictions and balances, and I wanted to create my own symbolic ambiguity using matches as a domestic reflection of the suit of Swords’ mixed potentials.
I used a layered double exposure for the first Polaroid, doubling the readymade three swords from the heraldic arms of the 13th century le Peitevin family, early founders of Kirkstall Abbey.
For the second image I am photographed just as Smith’s figures are depicted – from behind – standing at the brow of a hill in the middle of a journey, wearing a long coat with broad shoulders.
In Pamela Colman Smith’s Six of Swords, the figures seem to bear the weight of the swords as if they are great responsibilities, heavy enduring pains carried upright with well-practiced calmness and dignity. This lesson from the Six of Swords resonates deeply with me, and is the key inspiration for the design.”
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Sofia Foiera (Italian, based Italy) - Face Art inspired by detail from Kirkstall Abbey by George Lambert (English, 1700-1765, b. Kent, England)
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