Lependorf + Shire

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Glyphs

Glyph 1	Glyph 2	Glyph 3
Glyph 4

Horizon Fields

landscapes

Horizon Fields XLI, 2008	Horizon Fields L, 2010	Horizon Fields LIV, 2010
Horizon Fields XLIII, 2008	Horizon Fields XLVIII, 2009	Horizon Fields XXXIX, 2008
Horizon Fields XXXVII, 2008	Horizon Fields XXXVIII, 2008	Horizon Fields II, 2004
Horizon Fields III, 2004	Horizon Fields V, 2004	Horizon Fields VI, 2004
Horizon Fields VIII, 2004	Horizon Fields XXV, 2005	Horizon Fields XI, 2005
Horizon Fields XII, 2005	Horizon Fields XVI, 2004	Horizon Fields XVII, 2004
Horizon Fields XVIII, 2004	Horizon Fields XXIII, 2005	Horizon Fields XXIV, 2005
Horizon Fields XXVII, 2006	Horizon Fields XXX, 2007	Horizon Fields XXXI, 2007
Horizon Fields XXXIII, 2007	Horizon Fields XXXVI, 2007	Horizon Fields LV, 2010
Horizon Fields LI, 2010	Horizon Fields XLIX, 2009	Horizon Fields XLV, 2009
Horizon Fields I, 2004	Horizon Fields LXV, 2011, 2011	Horizon Fields XLVII, 2009
Horizon Fields XIV, 2004	Horizon Fields XV, 2004

Shirokuro

black and white

Shirokuro-VI, 2006	Shirokuro-I, 2006	Shirokuro-II, 2006
Shirokuro XXVII	Shirokuro XV, 2009	Shirokuro XII, 2008
Shirokuro-IX, 2006	Shirokuro-V, 2006	Shirokuro-VIII, 2006
Shirokuro-VII, 2006	Shirokuro XXVIII	Shirokuro-X, 2006
Shirokuro XI, 2006	Shirokuro-III, 2006	Shirokuro-IV, 2006

Artist Statement

The foundation for our work is the photographic image with the optimal quality of light. Selecting the interplay of composition, form, rhythm, and line is the focus for our imagery. Integrating these elements in the computer is the next stage in the process of merging our visual and intuitive sensibilities toward a completed vision.

Different perceptual effects arise from recording the world in photographs as opposed to interpreting it in paint: Our goal is not to emulate painting.

Conceptual work in all mediums has blurred the line between photographers who make art and artists who use photography.

The digital medium has established itself in the natural continuum of art history and the ongoing relationship of art with technology. This work forces us to consider a more serene world while reminding us that no contemporary experience is unmediated; technology touches everything. The use of the computer as a tool does not create; it assists creativity resulting in a synthesis of disciplines to be realized as a limited edition.

The combination of archival pigment inks on Crane Fine Art paper framed with archival mattes and backboards insures permanence in excess of 175 years.

The creative process will always remain in the mind and the soul of the artist.

Shelly Inez Lependorf
Stan Shire