Million-Dollar Freeview
( Campervan Morn II )
c. Michael St.Mark 2009
‘
Rumination on people paying millions to wake up to a view like this. The artist was granted this for free three sunny summer mornings in a row , parked at over 1000ft in the wild hills of the back of yonder ( S. Lakes )
‘
Or random New Dada images slideshow on FLIKR..
http://www.flickr.com/photos/newdada/
Little Star of Broadway
c. Dingo, 2009
.
New Dada artist Dingo;
“Putting/seeing the extra in the ordinary”TM
London Dadaist Dingo
Sore Loser
c. Michael St.Mark 2009
Caved-in boarded-up Ladbrokes window, Hatfield, Herts.
*post updated 2017
Sore Loser / abstract
( rotated digital crop derivative )
c. 2009 Michael St.Mark
_____________________________________________________________________
Sore Loser ( abstract ) available in a signed edition of 20 fine art Lightjet prints on Kodak Pro Endura;
18″ H X 14″ W
£350 (unframed)
Enq; sales@londondada.com
An English Summer Triptych
( chill-out zone )
c. Dingo 2009
Click on an aphid to be transported to a personal relaxing green haven
First in a unique series evolving the landscape photographic triptych format beyond simply one image split into three sections.
*Here, three separated portrait mode panels of cropped photographic images are instead derived from an incrementally progressive pan, yet each recognizably related and connecting essentially to the same overall scene, each panel separated by a short time interval.
London Dada artist Dingo at Rye Harbour estuary;
“Putting the Extra in the Ordinary ” TM
” Seeing the Extra in the Ordinary”TM
Forward link to third in the GCZ series; 2017
_____________________________________________________________________
Water 1, from the Thames Estuary series by Nadav Kander (c) 2015
*Portrait mode cropped stills derived from an incrementally progressive pan of the recognizably same scene separated by a small time interval
Showing at Flowers gallery London, Nov 2017
___________________________________________________________
London Dada; ” reorienting art in the 21st C. ”
