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Even though we were up until very late talking, drinking, and smoking; we were up before dawn. Wait... were we singing too? I think I remember singing.

For breakfast at dawn Tony made crepes. I devoured the first half to enjoy the pancake with nuts and herbs and added a dash of his plum compote and returned to the dinning table. It looked beautiful in the light so I tried a still life with CD jewel cases, pencil crayons, 12 year old whiskey, and my only sketch of the sketching trip done as an after midnight pencil crayon doodle based upon circles traced from the shot glass base.

I carefully rolled the crepe around the compote and appreciatively ate it as finger food.

I waited until the sun was well above the horizon to photograph a couple of Tony's sketch matrices that were hanging in the cottage.

I like the arrays. They are both contemporary (cubist, cinema graphic, compound) and traditional (Canadian Impressionist landscape oil sketches). I enjoy both aspects of them. They are a challenge and an enlarged vision of the earth. Post-Modern with a global international intent from a specific locale.

The 3 x 3 array above is composed of 9 sketches that Cooper made outdoors in oil on 10 x 13 x 1/8 inch mahogany ply panels of scenes within the lands around the cabin.

I am in the process of making details of individual panels for you. They were photographed hand held in existing light without post production. I am drawing digital maps on the above matrix with "hot spots" linked to the details. To view them you must mouse over and click (or touch). To return to this menu you must use your browser's back button.

We decided to go for a paddle. It was welcome news to me because taking a photo array, hand held of a low relief sculpture hung on the wall is difficult and time consuming. Not as much an effort as "writing" the HTML for a complex subject but, I was as ready then as I am now to take a break.

Tony's work not always a geometric array. Often he uses objects which defy such a tight organization of form. In this case he arranged the composite upon the mantelpiece.

In this one the individual panels are not of the same place. The top set of three are in the white quartzite La Closhe Range of ancient volcanic mountains. The three painted panels on the bottom are in the more common pink volcanic granite from all over central Ontario.

I am doing the same thing as before, mapping the above jpeg and linking it to details. The difference is the light. It was later in the day, the sun was fully out, and I was photographing into it pouring in through curtains.

The way in which light plays on paintings I call "life"... meaning that in different light, at different times of day, paintings change. The changes cannot be recorded with one photograph. I am simply using the reproductions directly out off the SD camera memory. This simply, often overlooked fact, will become immediately obvious to you.

If you are interested in Tony's work and in sketching outdoors you should like the Flash documentary I wrote. You will need a Flash Player (your computer browser probably had one when you got it) and speakers (it has sound and music by Robin Fisher).

A Camp, Eh?
And then, as swiftly as we arrived, we were gone. The forest only vaguely noticed us. To the rocks we were invisibly fast.
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