Moore at Kew - Opening 15 September 2007

Moore at Kew
by Yoko Bates
Judge Stuart Simler writes: "A wonderfully crisp shot of Moore's 'Knife Edge - Two Piece' slicing out an elegant wedge of Kew's landmark Palm House. The image emphasizes the true nature of this sculpture, whilst highlighting the trademark working of a masterpiece. It also offers up graphic contrasts of line and tone and still manages to create a balance of subject focus between sculpture and glasshouse."
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HENRY MOORE
by Eddie K K Chui
Judge Jeff Eden writes: "People seem to love interacting with the Moore sculptures and this is a nicely caught moment. It was great timing to photograph the adult and child as if they are playing Hide and Seek. I also like the way the interesting textures have been captured here, while also giving us an idea of the scale of the piece."
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Discovering Henry
by sylvan.
Judge Jeff Eden writes: "This is a simple idea and a well executed photograph of one of my favourite Moore sculptures. I like the way this shot resembles a self portrait as if photographed into a mirror, while also showing the scale and power of the sculpture."
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Henry Moore at Kew
by Chris Jones
Judge Laura Giuffrida writes: "The relationship between the two reclining figures has been beautifully captured. The light on 'Reclining Figure Angles' shows off her sweeping form, and I like the contrast between the band of soft green trees and the twinkling water below."
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Draped reclining mother and baby - 1983
by Cathy Caspersz
Judge Charlie Hopkinson writes: "Such a simple picture yet skilfully combining lots of parts. It looks so much like a snapshot taken by anyone, and yet all the elements of the scene are merged subtly into one photograph. The best bit is the representation of the human element that manages not to detract from the environment and the piece. Such a simple and clever solution to quite a problem: how to show people with a sculpture without allowing the people to become a distraction. A very nice photo and much cleverer than it looks at first glance."
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Mother & Baby 1983
by Joanne Carpenter
Judge Charlie Hopkinson writes: "Black & White photography can reduce images to something less distracting than colour ones, and helps the viewer to concentrate on shape form and contrast. It's these three ingredients that make so much sense when looking at Moore's work.
The clever thing about this image is that it has retained its figurative element, so we see the sculpture in the displayed environment and at the same time can appreciate important aspects of the piece. The sunlight breaking into the frame is just the icing on the cake, making an all round peach of a picture."
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Large Upright Internal External Form
by Versutia
Judge Laura Giuffrida writes: "A great detail of this powerful sculpture. The strong light and darks, the shadows of the internal forms combine with the brilliant blue slivers of sky to create a stunning abstract composition."
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Moore through the looking glass
by david_pearsonx
Judge Stuart Simler writes: "This is a vintage image, classical and steeped in time! The vivid juxtaposition of tones which run instark contrast from the black, soft natural framing of the leaves to the surreal, clean lines of 'Large Reclining Figure' make this a truly elegant photograph."
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17 Oval with points, 1968-70
by Eric Baker
Judge Charlie Hopkinson writes: "The combination of the trees and sculpture combined in the same photo, yet neither detracting from the other, is what makes this shot a winner. It could so easily have looked messy and complicated, yet it looks clean and simple. It sums up beautifully the skill involved in positioning sculpture amongst nature in a botanical garden, something Kew really excelled at with this exhibition. The photographer has also managed the exposure really well, given the bright sky and trees alongside the dark shapes of the piece. Well done for mixing these elements and keeping the result interesting and simple and well exposed. No easy task!"
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Backlit Leaf
by Leslie Granda-Hill
Judge Jeff Eden writes: "I love the warm lighting and graphic cropping of this photograph. It beautifully combines abstract and natural elements to create a simple, but lovely image."
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Double Oval
by John Samuel
Judge Stuart Simler writes: "I really love this image, it highlights the magnificence of this particular sculpture and offers alternatives to the concept of landscape within the piece. It also throws an interesting slant on the suggestion of scale and perspective which commands the viewer to observe more closely."
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brassy Moore
by Catherine Hadler
Judge Jeff Eden writes: "It's great to see people shooting beyond the obvious entire sculpture photograph. I've been fascinated how the sculpture's appearance alter throughout the day and under varying light conditions. This is a nice detail shot concentrating on the textures of the sculpture and the colours from the reflected landscape."
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Henry Moore at Kew 21 Sep 2007
by Douglas Allen Deacon
Judge Jeff Eden writes: "There is a dramatic quality to this image I really like. The high contrast, moody feel and strong composition gives it an epic quality, and really makes it stand out from other photographs taken of the same piece."
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IMG_0337
by Deborah Metters
Judge Laura Giuffrida writes: "With the Moore exhibition very much in mind, this image demonstrates how art can be inspired by nature. Moore did not look to a single source of inspiration for his sculpture and said that his forms were based on the memory of many things. The detail of the swan's curved neck, and the use of the negative space to create a strong composition reminded me of Moore's 'Oval with Points' and 'Double Oval'"
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A Child of Our Time
by Mark Flisher
Judge Laura Giuffrida writes: "A touching detail of 'Reclining Mother and Child'. I like the minimal quality of the image, the deep velvety black and the good light emphasising the textures and reflection."
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moore 15
by Vivian de Mesquita
Judge Stuart Simler writes: "There is something very honest about this image which invites the viewer in and encourages them to observe the relationship between Moore's work and their surroundings. What's more, this wide shot gives the viewer a sense of scale and slowly draws us into its narrative."
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point
by June Kingsbury
Judge Charlie Hopkinson writes: "This is such a strong shot. Really really simple (black and white helps with this), and yet the subject is unmistakably a Moore sculpture, even though the picture shows a small part ofa large piece. The lighting is superb, retaining the sense of a three dimensional piece, even though it is reproduced here in two dimensions. That is some achievement and the photographer should be congratulated for this terrific effort. Getting lighting right in a natural environment is no easy task. I love this image."
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Inside the Yellow Flower
by Chris Williams
Judge Charlie Hopkinson writes: "A lovely close up. What really makes this image work for me is that there are elements of Moore's work and style that so clearly make up the photograph here. First, there's the colour, reminiscent of the bronze. Then there's the focus of the image and our eyes are drawn to the centre by the lines going from the outside of the frame inwards. Finally, it's abstract and yet at the same time, it's perfectly clear what the subject matter is: an organic form. Overall, the image is beautiful, strong and subtle, clean and simple. A really great shot."
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Moore Sculpture 1
by Justine Berry
Judge Stuart Simler writes: "A stunning tribute tothe quality of these works which give something new and unique every time the light changes. The image captures this element beautifully and in such subtle manner that it hardly seems possible the photographer could have conjured upa tree-line that references the line of the sculpture."
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