John FitzGerald's photos

I prefer the large view, which may be obtained, should you so wish, by typing Z.

Bay Street at Front Street, Toronto, in July, 2011. In the big views you actually get to see their faces. Type Z if you feel like getting a better look at everyone.

On the left is the Bank of England (Sir Herbert Baker, 1939, retaining the outer wall by John Soane, 1833). In the middle behind the fellow on the bike is the Royal Exchange (Sir William Tite, 1844); peeping up above its roof is its clock tower with its weathervane, the Gresham Grasshopper. Sir Thomas Gresham founded the Exchange in the 16th century and the crest of his coat of arms was a grasshopper. Also peeping over the roof to the right of the clock tower is 30 St. Mary Axe (Foster + Partners, 2004; popularly known as the Gherkin)), and to the right of it is the Leadenhall Building (2014, Rogers Stirk Harbour +Partners) under construction. The Leadenhall Building is popularly known as the Cheesegrater. There's another big glass building (22 Bishopsgate) back there now looming over the left side of the roof. Thanks to Phil Sutters for pointing out that my original identification of the Cheesegrater as the Shard was incorrect. That isn't the first time Phil has helped me with identifying things and I appreciate his helpfulness. The PiP at top left shows an older view of Bank Junction.

Another view from the grounds of the London (Ontario) Normal School. For an explanation of what a normal school is click this link: www.ipernity.com/doc/fitzgerald/50549342/in/album/1295752 For some information about the Normal School's distinguished principal John Dearness click this one: www.ipernity.com/doc/fitzgerald/50656226/in/album/1295752

July 14, 2011

I like the full-screen view, which you get by clicking the photo, then clicking the representation of a frame to the right of the speech balloon at top right. Your experience may vary.

Bay Street, Toronto, 2018

Yonge Street, Toronto, 2014

John FitzGerald (London, Ontario) is a photographer who often works with sculpture. By emphasising aesthetics, FitzGerald strives to develop forms that are based only on subjective associations and formal parallels, which encourage the viewer to make new personal associations. His photographs of sculpture sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By choosing mainly formal solutions, he formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages. His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By experimenting with aleatoric processes, he seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life. His works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects leads to surprising analogies. ===== The artist's statement was generated by 500 Letters, your source for all your artist's statement needs: www.500letters.org/form_15.php The PiP at upper left shows a variant of this sculpture. I likes 'er big; to see if you agree, click the pic.

So here I am on the Foundry Bridge at the foot of Prince of Wales Road in Norwich, eh, the one that crosses to Thorpe Road and the train station, and I'm thinking I'll get some photos of boats passing under the bridge. And here comes a houseboat, with a girl in the front hatch looking straight ahead, rapt in the scenery! What an opportunity! So as the boat approaches I line up the shot, but when the boat passes underneath me I don't see the top of her head but her looking back up at me. So I take that shot -- it's not like I was gonna get 'em to come back, eh, so I could get the other shot. Anyway, I hope someone that observant has taken up photography by now.

Click the PiP at upper left to see a variant of this sandwich.

Fontaines bicolores by R. Mutt.

Fontaines blanches by R. Mutt.

The larger view (click the pic) shows more detail.