 | |
| “The
Desert” |
 #65 |
Van Cleeve Coulee, Sweetgrass Hills, Milk
River Valley, 1971
Available in 16x20" and 20x24"
|
 #79 |
| Petroglyphs,
Cliff Face, Police Coulee, Milk River Valley, 1971
|
 #70 |
Farm Approach, near Mountain View, Alberta, 1998
|
 #58 |
| Sunrise, Livingstone Range (Highway 22), 2001 |
| limited
edition of 110 in 20x24" size
|
 #57 |
| Sage
Brush (Milk River Valley), 1968
|
 #36 |
| Sandstone
Formation, Milk
River Valley #1, 1971
|
 #2 |
| Sleepy Hollow, Alberta near Milk River, 1992 |
| limited edition of
110 in 20x24" size
|
| “The
Mountain and The Cloud” |
 #106 |
| Mount Galwey, Lenticular Cloud, Waterton
Lakes National Park, 2005
|
 #102 |
| Goat Haunt and Cleveland Study #1, Glacier
National Park, 2005
|
 #105 |
| Talus,
Boulder Field, Upper Waterton Lake, Waterton Lakes National Park,
2005
|
 #104 |
| Winter
Shoreline, Waterton Lakes National Park, 2005
|
 #100 |
| Vimy Peak,
Waterton Lakes National Park, 2004
|
 #97 |
 #98 |
| Head of the
Lake #1 and #2, Waterton Lakes National Park, 2004 |
|
diptych or sold separate
|
 #94 |
| Dawn Mist Falls, Glacier
National Park, 2004
|
 #91 |
| Trail of the Cedars,
Glacier National Park, 2003
|
 #90 |
| Avalanche Creek, Glacier
National Park, 2003
|
 #89 |
| South From Logan Pass,
Going to the Sun Road, Glacier National Park, 2003
|
 #87 |
| Lady
Slippers (Orchids), Crandell Lake Trail, Waterton Lakes National Park,
2003
|
 #85 |
| Sandstone Boulder, Glacier
National Park
(at the head of Upper Waterton Lake), 2002
|
 #83 |
| Red Rock Canyon, Waterton
Lakes National Park, 2002
|
 #81 |
| Running Eagle Falls,
Glacier National Park, 2002
|
 #75 |
| Upper
Waterton Valley: Study II, April 2001
|
 #69 |
| Waterton
Winter Day, Waterton Lakes National Park, 2000
|
 #66 |
| Lenticular Clouds:
Red Rock Canyon Road, Waterton Lakes National Park, 1983
|
 #32 |
| Marsh
Grass, Maskinonge Lake at Sunrise, Waterton Lakes National Park 1984 |
| limited ed. of 110
in 16x20" size
|
 #31 |
| Pine
Forest, Mount Carthew, Waterton Lakes National Park, 1984 |
| limited
edition of 110 in 16x20" size
|
 #30 |
| Spires,
Mount Carthew, Waterton Lakes National Park, 1984 |
| limited
edition of 110 in 16x20" size
|
 #28 |
| Forest
in Winter, Buchanan Ridge, Waterton Lakes National Park, 1994 |
| limited
edition of 110 in 16x20" size
|
 #23 |
| Thimbleberry
Leaves, Hell Roaring Creek, Waterton Lakes National Park, 1984 |
| limited
edition of 110 in 16x20" size
|
 #20 |
| West
from Akamina Ridge, Kishinena, 1973
|
 #10 |
Coppermine Creek Study #3, Waterton Lakes National Park, 2000
limited edition of 110 in 16x20" size
|
 #7 |
| False
Hellebore, Waterton Lakes National Park, 2000 |
| limited
edition of 110 in 16x20" size
|
 #5 |
| Upper Waterton Valley,
March 2000 |
| limited edition of
110 in 16x20" size
|
|
“The
Desert, the Mountain, and the Cloud”
Belden C. Lane**
Large Format Gelatin Silver Photographs by Tom Willock
A native of southern Alberta, Tom
Willock has been photographing the landscape of his home for over 40
years.
We are all part of a story.
Each of us participates in the historical unfolding of places and
lives - human, animal, plant, geological and geographical - all
interconnected in some way. We,
as "keepers of the kin" to the earth, as witnesses, are each
responsible for making the words and images and memories that tell these
stories. For me, the place has been the southern landscape along the U.S.
border from the shortgrass of the prairie dog town near Val Marie,
Saskatchewan, across the Sweetgrass Hills and the Milk River Valley to the
Crown of the Continent peaks of Waterton and Glacier National Parks in
Alberta and Montana. Photography and writing help me tell these stories.
I think anyone who pursues a
creative interest finds that there is a common thread or theme that join
together the unique experiences and endeavors of our lives.
Personally, that thread has always been a curiosity about my
attachment to the landscape. Whatever
interest dominated a particular period of my life, whether scientific,
recreational, academic or artistic, all were variations on this single
theme. Each pursuit built on those preceding and, although each was as
distracting as it was revealing, they all had strong spiritual elements,
especially a persistent awareness that I owed a responsibility to place
and a need to put form to that insight, hoping to strike a chord in
others, to share an understanding or a passion.
Photography is a means to an end.
It presents an avenue of understanding and expression. I do not think that an expressive photograph is "found
art". My photographs are as constructed as the traditional
(non-digital) medium will allow. Each begins as an interaction with the
landscape, sometimes scattered over many months or years. It proceeds to
the development of an image; the composition, the timing and technique,
the darkroom process, all translate the perspective, the idea. The best
expression, the best story, is the perfect marriage of idea and craft.
Tom Willock, 2006
**Belden C. Lane, The Solace of Fierce Landscapes.
Exploring Desert and Mountain Spirituality, New York: Oxford
University Press, 1998, 4.
***Note: all works framed in wood
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