It’s up . . . my show at Baltimore Woods, that is

I’ve been attracted to and a member of Baltimore Woods dating way back into the 1980s when I had the privilege of helping the founder, John Weeks, look at the potential for a fund raising campaign. It was a time when “the Woods” was pretty much just John’s dream. The “Hand House,” today’s headquarters for the nature center, wasn’t even on site yet and when it finally was it would be a good long while before such amenities as plumbing would be working realities. Certainly, the beautiful program room that plays host to a continuous stream of art shows wasn’t even thought of.


I find it hard to pick favorites, but to me this says "Winter in Baltimore Woods" and therefore it's a a centerpiece of this show.

I find it hard to pick favorites, but to me this says “Winter in Baltimore Woods” and therefore it’s a a centerpiece of this show.

This all made this past Monday especially gratifying as I worked with Karen Smith at Baltimore Woods, to install a show that’s taken on special meaning for me. When I accepted the invitation to do this show, back in October of 2014, I did so because I’ve come to think of “the Woods” as my local, go to venue, whenever I need a photographic fix. I’m hoping the show will help others see the beauty of “The Woods.”

“The Woods” doesn’t present any grand landscapes with colorful sunsets or sunrises. It’s a setting that challenges all of us, but especially photographers to open our eyes and really see . . . perhaps see with more than just our eyes.

I think this is an example of the art of nature . . . simple, clean, somehow sensuous.

I think this is an example of the art of nature . . . simple, clean, somehow sensuous.

Karen, an artist in her own right, is also “the Woods'” art show coordinator and she takes personal interest in making certain that everything looks just right . . . noting where color might show better in one area and, in my case, black and white pop a little more in another. She’s a big part of what makes shows at “the Woods” come off so well. I’m not the first one to owe her my gratitude for helping our work look it’s best. Thanks Karen.

As it’s happened, I also got to spend much of Tuesday in the program room, during which time I took the photos to comprise the panorama at the top of this post. More importantly, I got to meet and speak with two wonderful artists, both painters Bob Glisson and Chris Baker. Bob has a Baltimore Woods show scheduled for the fall and Chris’ paintings were featured in the first show at “the Woods” some years ago. I was interviewing both for a magazine article I’m collaborating with “the Woods” on. More on that later. It was Chris who noted that one of the values of art shows at Baltimore Woods is their ability to awaken the senses before we set out on one of the nature center’s trails.

Winter in "the Woods," mysterious yet peaceful, quite and inviting.

Winter in “the Woods,” mysterious yet peaceful, quite and inviting.

I’m hoping that the collection Karen and I hung yesterday will encourage visitors to see nature in these woods that they might otherwise overlook.

It was not only rewarding to enjoy conversations with Bob and Chris, it was helpful to be able to witness the response and reactions of artists, to the work I had hanging . . . hopefully it will be rewarded with similar interest by others who visit “the Woods” between now and April 26. I’m especially excited that I’ll have the opportunity to witness how people perceive this show at a reception Baltimore Woods is hosting on Friday evening, March 13, from 5:30 to 7:30 pm. It’s free and open to the public. Even parking is free and light refreshments will be served.

I hope to see you there.