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ON LOCATION

A studio made en plein air. James Nares reaps the wind in golden green.

FOR THIS OCCASION JAMES MARES’ studio is not where he lives and works in New York but in southwest Ireland, where he’s been going with his family for the past twenty years a place studded with the occasional palm tree and relics from the past. One the Fingers stones otherwise known as the Three Ladies has an ancient provenance that is locally considered doubtful. Nares likes this questionable authericity. It compounds the interpretable nature of ancient things which act as a home base for the imaginings of his contemporary mind.

Originally Nares planned a Pu-ssu scroll painting—a landscape without likeness, or a landscape beyond likeness—but wind and rain beat out the lightweight paper brought over from New York. He gave in to the weather, changed his mood—something weather can do to us—and began to brush onto slates the “equivocal histories” he reaped from the wind: among them the Three

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