The Art Journal
Outside the Watership: A Whimsical Journey Beyond Earth’s Horizons
A new work, born of whimsical thoughts and the playful imagination, unfurls like a story within a story. It is as if the universe has gently whispered to me through the lens of my camera, inviting me to share its distant, celestial view. This artwork, Outside the Watership, captures a moment that feels almost like an astronaut’s floating glance back at Earth from the quiet solitude of space. It is the reflection of a boat on still water, yet to me, it could be the sleek, curving hull of a spaceship, its polished surface glinting under an alien sun as it hovers just outside the reach of gravity, silently orbiting the world below. When I kayak through the world, each photograph I take seems to encapsulate a new way of seeing—like stepping outside the boundaries of what is known, much as an astronaut might feel when leaving the comforting embrace of their spaceship and taking a step into the unknown of space. I have often felt that my perspective, with the lens of a camera in hand and the world shifting beneath me, mirrors that astronaut's detached yet intimate experience. Through these waters, I see the universe reflected back, offering glimpses of a larger story—one that stretches across time and space. Outside the Watership is not just a photograph. It is an invitation to step into the narrative of exploration and discovery, to see the world as though we are drifting beyond it, like a spaceship on a quiet orbit, watching the ripples of life below.
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At the End of the Road: Animating My original Vision
As an artist, I’ve always been drawn to the idea that the journey matters as much, if not more, than the destination. My photograph, At the End of the Road, was inspired by this philosophy—a quiet reflection on the beauty and mystery of transitions. But something about the still image felt incomplete, as though the story it wanted to tell extended beyond the frame. That’s when I turned to animation and LUMA.AI. By animating this work, I sought to expand its boundaries and invite viewers into the world I saw when I first captured the image. Using LUMA.AI’s innovative coding techniques, I was able to breathe life into the photograph, allowing it to evolve dynamically in ways I could never achieve with a paintbrush or camera alone. For me, this process wasn’t just about movement. It was about exploration—of the image, of its emotional layers, and of the limitless creative potential AI offers. The animation unfolds as a journey in itself, mirroring the unpredictable paths we navigate in life. It invites viewers to experience the work not as a fixed moment, but as a living, breathing story that evolves with every frame. At the End of the Road is a deeply personal piece, and animating it has given me a new way to share my vision. It’s not just about what lies at the end; it’s about how we travel, what we notice, and how we reflect along the way. This animation is my invitation to you: join me on this journey, and let’s see where the road takes us.
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Landscape of Blood: AI-Animated Art on War and Destruction by Ralph Kerle
Ralph Kerle’s short animation film, Landscape of Blood, is a poignant and evocative exploration of violence’s deep emotional and psychological impact. Derived from his original artwork, Landscape of Blood, the animation takes the still image and breathes new life into it using AI technology. This dynamic transformation enhances the raw intensity of the piece, transitioning from static photography to a haunting visual experience that deepens the viewer's engagement with the subject matter. The film opens with a mesmerizing display of fiery reds, which initially evoke awe and grandeur. However, as the animation unfolds, the explosive chaos and destruction behind the image become apparent. The stark contrast between beauty and violence speaks to the complexities of the political and social issues Kerle aims to address. Through this innovative approach, Kerle uses animation to amplify his political statement, rejecting the ravages of war and violence in a contemporary context. The title, Landscape of Blood, symbolizes the unsettling reality of conflict, both in its physical devastation and its psychological toll. The use of AI in animating the original artwork elevates its impact, creating a visceral experience that speaks to the chaotic nature of war. This aligns with Pablo Picasso's assertion that "Art is an instrument in the war against the enemy." Kerle channels this sentiment, using his art to challenge the forces of destruction, offering an unsettling yet powerful reminder of the havoc wrought by violence.
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Breathing Life into Art: A Creative Collaboration with AI on Impressions of Turner Landscape 7
I recently embarked on an exciting creative journey with AI through Luma Dream Machine to bring my latest artwork, Impressions of Turner Landscape 7, to life in a new way. The Impressions of a Turner Landscape series draws inspiration from the atmospheric works of J.M.W. Turner, capturing fleeting moments of light, water, and sky from the perspective of kayaking. Each artwork in the series reflects my deep connection to nature and the philosophical influence Turner has on my practice. In this new collaboration, I asked AI to re-imagine the mood and essence of Impressions of Turner Landscape 7 and translate it into a moving visual experience. The AI used its imagination to enhance the painting’s emotional depth and sense of motion, creating a video that breathes life into the static piece. This creative process felt like a dance between human and machine, where I could explore new dimensions of my work through the lens of technology. The result is a captivating video that amplifies the ethereal beauty of the artwork and deepens its connection to nature’s transient moments, continuing the dialogue between Turner’s legacy and my personal artistic journey. [caption id="" align="alignnone" width="1000"] Impressions of a Turner Landscape 7 [/caption]
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Blending AI and Photography: The Creation of 'Visions From the Red Intrigue
Often, when I initially capture a photo, I subconsciously perceive more than what a still digital image can convey. This led me to explore AI to create a short film that brought to life some of the imaginations that surfaced as I viewed the artwork. I found it fascinating to see AI manifest these imaginations, and during the editing process, I was reminded of JMW Turner's "The Shipwreck" (1805). Turner's watercolors have always resonated with me, particularly his ability to convey the primal force of the elements and the overwhelming impressions of realism and horror. "The Shipwreck" captures the essence of such an experience through its dark tonality and the dramatic depiction of the sea's power. How AI Contributed to the Visual Style and Narrative In the editing of the film, AI played a crucial role in shaping the visual style and narrative. When prompted, AI initially animated the water it had seen in the digital image. This animation brought a dynamic quality to the still image, transforming it into a living, breathing entity. The AI's ability to interpret and animate the reflections added a layer of depth and movement that I had imagined the still contained. I blended the powerful movement of water with an AI prompt to create the idea of a painting rather than the original still image. With several iterations and the imaginative processes of the algorithm, I sought to create a work that transcends the boundaries of digital photography and evokes a deeper, understanding behind my subconscious perception of what the artwork is conveying The AI's influence extended beyond mere animation. It helped me explore new visual possibilities, pushing the boundaries of my original concept. By integrating AI into the creative process, I was able to experiment with different visual styles and effects, ultimately enhancing the emotional impact of the film. The AI's ability to generate and refine visual elements allowed me to focus on the narrative and thematic aspects of the work. The Influence of Turner's "The Shipwreck" During the creative process, I was reminded of JMW Turner's "The Shipwreck" (1805). Turner's work, with its depiction of chaos and the primal forces of nature, resonated deeply with me. His use of dark tones contrasted with vivid colors to evoke strong emotional responses mirrored my own artistic approach. The swirling forms and the sense of overwhelming power in Turner's painting inspired me to capture a similar essence in my work. I titled the piece "Visions From the Red Intrigue" as it succinctly encapsulated the entire imaginative experience I had while creating and collaborating with AI. The red hues in my photograph, much like the dark tones in Turner's painting, evoke a sense of drama and intensity. The abstract shapes and lines, formed by natural reflections on the water's surface, create a visual narrative that invites viewers to explore their own interpretations. In "Visions From the Red Intrigue," AI was not just a tool but a collaborator, helping me bring my vision to life in ways I had not imagined. The resulting film has been an interesting journey combining human creativity with artificial intelligence, creating a piece that I hope is emotionally resonant and visually rich.
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Capturing the Aesthetics of Middle Harbour
Exploring the Natural Beauty and Atmospheric Conditions that Inspire My Fine Art Photography Middle Harbour in Sydney, Australia, is my sanctuary. Surrounded by national parks and serene waters, it provides the perfect backdrop for my artwork. These photographs offer a glimpse into the environment that fuels my creative process, showcasing the tranquil waters, dramatic skies, and the interplay of light and reflection that define this picturesque location. Dawn, just before or after sunrise, offers some of the most exhilarating and beautiful moments on Middle Harbour. The diffuse light across the horizon creates a soft, ethereal quality that leaves me breathless. However, this time of day is not always ideal for capturing the photographs required for my artwork. The best time to take photographs is when the sun is at a 45-degree angle, usually sometime after 7:00 am. The sky plays a crucial role in shaping the visual palette of my photographs. While blue skies create a deep blue water surface, they are not always the best for reflections. Often, grey skies offer a more suitable palette, creating an off-white water surface that provides better color contrast. The dramatic clouds and varied sky conditions add depth and movement to the scene, enhancing the overall composition. I hope the photos accompanying this blog reveal the environment and atmosphere in which I have the enormous privilege of working. They are not for sale. I just wanted to share a sense of the conditions that inspire my fine art photography. By sharing these images, I hope you might gain a deeper understanding of the natural beauty and atmospheric qualities that shape my creative process. Middle Harbour is more than just a location; it is a source of inspiration and a canvas for my artistic vision. The interplay of light, color, and reflection in this serene environment allows me to capture the essence of nature in my artwork.
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Ancient Echoes, Modern Insights: Ralph Kerle's 'Ancestral 1' and the Role of AI in Reimagining Aboriginal Landscapes
In the realm of contemporary art, few themes are as evocative as the exploration of ancient wisdom contextualized within the framework of modern technology. I hope in "Ancestral 1," inspired by the Australian Aboriginal proverb, "Those who lose dreaming are lost,", serves as a poignant interface between the past and the present, offering a canvas where such conversations can unfold. I see at the heart of "Ancestral 1" a reflection on the deep, spiritual connection that Australian Aboriginal cultures have with the land as exemplified in this work, the Sydney sandstone that lines the foreshore of Middle Harbour, the original home of the Cammeraygul people. This connection is not merely about the physical aspects of the land but encompasses a broader, more profound engagement with its spirit and ancestral legacy. The original artwork captures the essential elements of this landscape, its shape, colour and texture in a single close up photo that evokes a landscape, alive with the stories and dreams of the original inhabitants. The application of AI to animate the still image opens a new frontier that extends the artwork into a more metaphorical viewing experience. I am hopeful this synthesis of art and AI does not diminish the human element; rather, it amplifies the voices of the first Australians by framing their perspectives in a technologically connected context In embracing such technologies, I am not walking away from the essence of traditional Australia aboriginal art; instead, hopefully walking towards the possibility of a new interpretation, a new form of representation honouring this ancient wisdom in the new age of artificial intelligence.
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Walking Towards : The Possibilities of ART and AI
[caption id="" align="alignnone" width="5366"] Walking Towards - The Artwork [/caption] In my artwork *Walking Towards*, I wanted to explore the transformative capabilities of AI in art creation, to push the boundaries of simple still image content. Walking Towards, a digital image of the reflection of a hull of a boat on the surface of the water, suggested to me the serenity of an isolated beachscape, a profound sense of relaxation, evoking serene moments spent on deserted shorelines. Would it be possible to create this scene with AI? To evoke these human emotions in digital art? And if so how would I prompt AI? Initially I challenged AI using Mid Journey with a specific vision: an older, white-haired man resembling myself, gazing toward the horizon on a remote beach. My aim was to see if AI could not only generate an image that reflected my likeness but also capture the essence of those contemplative, joyous moments. I gave the AI a pass mark. I was now curious to see whether AI could animate the original piece, adding a layer that might echo the emotional depth of my experience at the beach. Such an animation could offer a dynamic, immersive experience, perhaps making the sounds of of the waves crashing and the smell of salt almost palpable. For this part of the experiment I used Runway. The resulting animation from this AI experiment does more than just mirror my personal memories and artistic intentions; it sparks a broader dialogue about AI's potential in enhancing artistic expression. By integrating AI into this image, I am not merely reproducing familiar landscapes but am infusing them with an impressionistic sense, exploring how technology can collaborate with an artist, to interpret and represent human emotions and memories. Ultimately, I leave it to you to judge how effectively AI enriched the artistic expression. contained in the initial artwork.
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Colour Harmony: Josef Albers' Influence on Ralph Kerle's Fine Art Photography
[caption id="" align="alignnone" width="1024"] Ralph Kerle’s homage to Josef Albers - “View the Colourbox” [/caption] Josef Albers, a renowned artist and colour theorist, laid the foundation for understanding the complexities of colour through his innovative theories and artistic explorations. His ideas have permeated various artistic disciplines, including fine art photography. Ralph Kerle, a globally recognised Australian photographer, harnesses Albers' theories to create visually striking and emotionally resonant images, highlighting the crucial role Albers' colour theory plays in his work. Albers' theory of colour, best exemplified in his "Interaction of Colour," posits that colour is relative, and its perception is influenced by context and juxtaposition. He emphasised the power of colour interactions to evoke emotions, create optical illusions, and affect the viewer's experience. Kerle's fine art photography employs this principle by skillfully orchestrating colours within his images. [caption id="" align="alignnone" width="1900"] The Red Line - Ralph Kerle. Artist [/caption] In Kerle's photography, colour is not merely a surface attribute but a fundamental element that shapes the narrative and mood of his images. There is both serendipity and pattern in Kerle’s work as he relies on the majesty of colour of nature , of sun light, and the water, rather than deliberate stylistic choices. The final result is photographs with depth and resonance, drawing the viewer into a captivating visual experience and endless conversations. Kerle's work also reflects Albers' exploration of the interplay between colour and form. Just as Albers used geometric shapes in his "Homage to the Square" series, forms, light, shade and patterns interplay in Kerle’s photography, which interact dynamically with colour. This captivating visual dialogue is in fact created in nature and by the reflections of water. Ultimately, Josef Albers' theory of colour offers an interesting connection to Ralph Kerle's fine art photography. Kerle's mastery of capturing colour interaction and his ability to use it to convey emotions and tell stories demonstrate the enduring relevance of Albers' theories. Through his work, Kerle showcases how Albers' ideas continue to shape and enrich the world of art and photography. Four works created by Ralph Kerle inconjunction with DALLI_E to demonstrate Albers theory of the Harmony of the Square.
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Ralph Kerle's Art Experimenting with AI
[caption id="" align="alignnone" width="1203"] Dalli-E’s Response [/caption] I recently was asked to write an essay for a prominent Australian artist’s archive on abstraction and my work and thought this would be a good time to experiment with AI. What might Dalli-E create graphically and what might Chat GPT write on my behalf. Here is what I asked it “Write a 900 word essay using Ralph Kerle's blog How I work with Abstraction as the basis and discuss the influence of the Situationists and their notion of derive and mapping as the core of abstraction in Kerle's photographic Painting on Water creative practice” Here is what it wrote unedited.. Title: Mapping the Creative Currents: The Situationist Influence on Abstraction in Ralph Kerle's Photographic "Painting on Water" Introduction The realm of artistic abstraction has long been a playground for the avant-garde, offering a canvas on which artists can explore the uncharted territories of human perception and expression. Ralph Kerle, a contemporary artist known for his innovative "Painting on Water" practice, draws from a deep well of inspiration, with one particularly intriguing source being the Situationists and their notions of dérive (drift) and mapping. In this essay, we will embark on a journey to uncover the profound influence of the Situationists on Kerle's photographic "Painting on Water" creative practice, focusing on how the concepts of dérive and mapping form the very core of his abstract art. I. Ralph Kerle's Photographic "Painting on Water" Practice Before delving into the profound impact of the Situationists, it is crucial to understand the essence of Ralph Kerle's unique artistic practice. Kerle's "Painting on Water" involves capturing ephemeral abstract images on the surface of water, often reflecting the surrounding environment. He uses water as his canvas, exploring the interplay of light, color, and the unpredictable nature of this fluid medium to create mesmerizing abstract compositions that challenge the boundaries of conventional art. II. The Situationists and Their Notion of Dérive The Situationist movement, born in the 1950s, was a revolutionary force that sought to merge art and politics, transcending the constraints of everyday life. At the heart of their philosophy was the concept of dérive, which can be understood as a drift or a spontaneous, unplanned journey through urban environments. Dérive was seen as a means of breaking free from prescribed paths, allowing individuals to engage with a city's hidden and overlooked facets. It was a way to reveal the true essence of a place and to liberate individuals from the monotony of their daily routines. III. Mapping as a Core Element of Abstraction In addition to dérive, the Situationists emphasized the importance of mapping as a tool for understanding and representing urban spaces. They created psychogeographical maps, which were more concerned with depicting the emotional and psychological experiences of a place than its physical geography. These maps aimed to unveil the hidden narratives and subjective perceptions that lay beneath the surface of a city, providing an alternative way to understand urban landscapes. IV. Kerle's Abstraction through Dérive Ralph Kerle's "Painting on Water" practice resonates profoundly with the Situationist concept of dérive. Much like the Situationists aimed to break free from established paths in urban environments, Kerle navigates the fluid surface of water without a predetermined plan. His process involves surrendering control and allowing the natural movements and forces of water to guide the formation of abstract images. In this regard, his practice aligns perfectly with the spirit of dérive, as both Kerle and the Situationists embrace spontaneity, serendipity, and a departure from preconceived notions in their creative processes. Furthermore, Kerle's engagement with the surrounding environment through the reflection on water mirrors the Situationists' objective of revealing the hidden aspects of a place. Just as dérive allows individuals to uncover the overlooked and neglected elements of a city, Kerle's work captures fleeting moments of beauty and abstraction in the reflections on water's surface. In doing so, he invites viewers to see the world anew and appreciate the hidden wonders of their surroundings. V. Mapping the Emotional Landscape While Kerle's work is primarily visual, it resonates metaphorically with the Situationist concept of mapping. Rather than mapping physical spaces, Kerle maps the emotional and psychological terrain of his own experiences and the environment around him. Through the interplay of light and color on water, he translates his emotions and perceptions into abstract compositions. In this way, Kerle's "Painting on Water" becomes a psychogeographical map of his inner world, inviting viewers to explore the emotional landscapes he traverses. VI. Conclusion: The Abstraction of Everyday Life In a world often marked by rigid structures and predetermined paths, Ralph Kerle's "Painting on Water" practice is a testament to the enduring influence of the Situationists and their notions of dérive and mapping. Kerle's ability to capture the essence of abstraction through the spontaneity of dérive and the emotional mapping of his surroundings demonstrates the power of these ideas in the creative process. His work challenges traditional artistic conventions, inviting viewers to embark on their own journeys of exploration and discovery. As we traverse the intricate relationship between Kerle's practice and Situationist concepts, we come to understand that abstraction is not merely a visual experience but a profound exploration of the human psyche and the world around us. Kerle's paintings on water serve as a bridge between the tangible and intangible, reminding us that the true beauty of abstraction lies in its ability to unveil the hidden narratives and emotions that shape our lives. In a world filled with routines and the mundane, Kerle's work encourages us to embrace the spirit of dérive and embark on our own journeys of creative exploration. It reminds us that, like the Situationists who sought to liberate urban spaces, we too can break free from the constraints of routine and discover the extraordinary in the everyday. Ralph Kerle's "Painting on Water" practice is a testament to the enduring power of abstraction and the transformative potential of art in our lives. Through the lens of dérive and mapping, he has found a path to explore the beauty that surrounds us every day, hidden in plain sight, waiting to be discovered and appreciated.
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My New Creative World
[caption id="" align="alignnone" width="1176"] The Ensign 2 "Ralph Kerle's work challenges what we understand to be photography..."~Australian Photography Magazine. [/caption] Almost a decade ago, I started to feel the need to return to my own creative practice as opposed to consulting, designing, and coaching creative leadership and creativity, my career for almost three decades. I wanted to discover what it was like to be creative in my own right again. Serendipity played a role initially as this search began. I used kayaking as a regular form of exercise and meditation seeking inspiration and insight about what returning to creative practice might entail. One day whilst on the water, I decided I wanted to capture the sense of what was happening and what I was seeing. I took some photos. Little did I think from this initial foray into digital photography I would develop a body of artworks built on a creative practice I had no forethought, intention or training in, only the desire to capture a feeling I was experiencing. After ten years, I certainly did not expect to be able to claim to be a Louis Vuitton commissioned artist, to have a had solo exhibition at the Australian National Maritime Museum commissioned by the Royal Australian Navy and to have two exhibitions running currently in Europe, the Indeterminate Sublime at the prestigious Mark Rothko Arts Centre, Daugavpils, Latvia and the Water Spirits of Aveiro at the Galeria Edifício Antiga Capitania Aveiro, Portugal. In addition, I have my own art gallery, Ralph Kerle Gallery, on the Corso in Manly, Sydney, perhaps one of the best known beach destinations in Australia, exhibiting my work continuously 7 days a week You can view a film on my creative journey here. [caption id="" align="alignnone" width="3470"] The Redness in Reflection [/caption] Embarking on a third career has filled me with purpose that has been therapeutic and fulfilling. Pursuing life as an artist is hugely rewarding personally. In the future I will be writing more about creating change and embracing new opportunities in third stage careers. I do send emails from time to time to announce new artworks or to invite followers such as yourself to launches and openings. There is an unsubscribe button on the email if you do not wish to receive any further communication. Otherwise, feel free to pop me a line via email. I would be interested to hear your thoughts on my journey, the artworks and any general comments you might like to make. Thank you for supporting me in an earlier career. I hope this story from my new career has bought you some joy, insight and inspiration.
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Are Fine Art Prints Collectible?
[caption id="" align="alignnone" width="2000"] Buildings on Water 4 90 x 190cm View artwork [/caption] It is difficult to describe my artworks using commonly understood art definitions. When viewers discover the artworks are not paintings, rather they are photographic prints created using a water based inkjet printer on cotton etching rag, often referred to as a Giclee print or museum quality fine art paper, they seem to be uncertain of their validity as original artworks and their value. If these are photographic prints they can be produced endlessly, can’t they - and - if they are not paintings, what can we call them and thus how can we value the artwork - are often questions I am asked. Over the years I have sort answers from peers, academics and art gallery owners to try and create some degree of certainty around the way to describe the artwork and its artistic and commercial merits in the unregulated world of the art market and have not always been satisfied myself with the responses until recently. In October, The Artling, a Singaporean online art gallery, published an article entitled “A Beginners Guide To Collecting Prints” by Stella Botes, an art writer and critic based in London, who works for Cristea Roberts Gallery, one of the foremost print galleries in Europe. This is the most authoritative article I have read on this topic, offering an historic perspective from the development of print making to the contemporary emergence of the digital print. Importantly the author develops a good case for fine art print collection as an emergent affordable trend in the art world. [caption id="" align="alignnone" width="2048"] Evolutionary Curve 150 x 200cm View artwork [/caption] [caption id="" align="alignnone" width="2000"] Morning in Orange Heaven 10 x 160 View Artwork [/caption] Botes writes “ Prints are becoming ever more popular as a category for collectors, as auction houses see yearly rises in their prints and multiples categories. The medium offers a through-line in art history, from the early woodcuts of the 1500s to the digital prints of the 21st century, it is a category in which collectors can trace artistic movements and technique. There is an astonishing variety of work available in the printmaking category and, importantly, it often comes at a more accessible price point than unique works since it is part of a series. As such, a growing body of young or first-time collectors are making their first forays into collecting via printmaking. “ My work comes in limited editions depending on size. Works of 110cm wide are generally offered in editions of 5; any works less than 110cm in editions of 50. I do offer unique works on commission. Unique works, or monotypes as they are known, are prints created from an original edition print altered to satisfy a specific design element, in the process making a new unique artwork . Alterations can include changes in original artwork size and dimension, for example moving the image from landscape to portraiture in dimension or vice versa, increasing the size of the image in a way that alters the original artwork, even removing a part of the image. Importantly, I only create monotypes on request. I hope this might give you some precise insights about how to think about fine art prints generally as collectibles. The article has certainly assisted me in viewing my work from a more historical perspective whilst opening up my creative thinking about it.
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