Moths To A Flame (Colour)
Moths To A Flame (Colour)
David Yarrow
STANDARD – Edition of 12
34” x 77” Unframed
49” x 92” Framed
LARGE – Edition of 12
46” x 103” Unframed
61” x 118” Framed
We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via private art shuttle. Please inquire.
Moths To A Flame (Black & White)
Moths To A Flame (Black & White)
David Yarrow
STANDARD – Edition of 12
34” x 77” Unframed
49” x 92” Framed
LARGE – Edition of 12
46” x 103” Unframed
61” x 118” Framed
We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via private art shuttle. Please inquire.
Main Street Park City (Colour)
In June 1898, fire broke out at the American Hotel at the top of Main Street, Park City and with strong winds blowing from the east, the fire quickly spread from building to building. It was thought that a drunken guest knocked over a lamp and that one moment destroyed a whole community.
At the time, the silver, lead and zinc discovered in the nearby mountains had driven hundreds of prospectors to this once small Utah settlement. The city’s population had risen rapidly to over 10,000 and Main Street was a boom street that included boarding houses, saloons, theaters, and stables. The fire put paid to that street at a time of peak activity down the mines.
But Main Street was rebuilt quickly; there was no other way and the city has retained its look as a picturesque, nineteenth century mining town. The one road is now home to over 200 separate businesses, including the lauded No Name Saloon which is close to the site of the old American Hotel.
We were filming in the No Name when a winter storm started to bombard Main Street. It seemed as good an opportunity as any to pay homage to one of the great streets in the West. We also had a bison in town and it seemed to make sense to include him in the narrative. Afterall, this is the Wild West and anything goes.
Park City has, of course, become a year-round recreational haven, but its soul remains in the past. It was a boom mining town. This picture is a nod to those days.
71” x 114” (framed)
We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via Hilton Contemporary’s private art shuttle. Please inquire.
Main Street Park City (Black & White)
In June 1898, fire broke out at the American Hotel at the top of Main Street, Park City and with strong winds blowing from the east, the fire quickly spread from building to building. It was thought that a drunken guest knocked over a lamp and that one moment destroyed a whole community.
At the time, the silver, lead and zinc discovered in the nearby mountains had driven hundreds of prospectors to this once small Utah settlement. The city’s population had risen rapidly to over 10,000 and Main Street was a boom street that included boarding houses, saloons, theaters, and stables. The fire put paid to that street at a time of peak activity down the mines.
But Main Street was rebuilt quickly; there was no other way and the city has retained its look as a picturesque, nineteenth century mining town. The one road is now home to over 200 separate businesses, including the lauded No Name Saloon which is close to the site of the old American Hotel.
We were filming in the No Name when a winter storm started to bombard Main Street. It seemed as good an opportunity as any to pay homage to one of the great streets in the West. We also had a bison in town and it seemed to make sense to include him in the narrative. Afterall, this is the Wild West and anything goes.
Park City has, of course, become a year-round recreational haven, but its soul remains in the past. It was a boom mining town. This picture is a nod to those days.
71” x 114” (framed)
We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via Hilton Contemporary’s private art shuttle. Please inquire.
Vice (Colour)
There is a nod to Ridley Scott’s Thelma and Louise in this photograph. The iconic girl power movie from 1991 has been a material prompt for me – especially in terms of using the grandeur of the American West as a layer of narrative in car stories. The addition of police cars to this set makes the nod even more emphatic.
Location scouting is an integral part of visual storytelling and more often than not, a possible location we have discovered during desk work, does not pass the test when we do a site visit. That’s good, as there needs to a be high bar in what we perceive to be a strong contextual background. We are greedy operators when it comes to filling the screen.
The Trona Pinnacles are remote and that always helps to provide some privacy in what we do, especially if we film in the early morning in the off season. I can’t really remember scheduling a shoot in the American West in the summer months; it just gets more complicated.
Road trips are good for team bonding; it gives us time to think and reflect on what we can do better in the creative process. Being out and about in the great American West should always be more productive than sitting behind a desk. I do think I mentally land on some of my better conceptual ideas when looking out from a car window.
71” x 89” (framed)
We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via Hilton Contemporary’s private art shuttle. Please inquire.
Vice (Black & White)
There is a nod to Ridley Scott’s Thelma and Louise in this photograph. The iconic girl power movie from 1991 has been a material prompt for me – especially in terms of using the grandeur of the American West as a layer of narrative in car stories. The addition of police cars to this set makes the nod even more emphatic.
Location scouting is an integral part of visual storytelling and more often than not, a possible location we have discovered during desk work, does not pass the test when we do a site visit. That’s good, as there needs to a be high bar in what we perceive to be a strong contextual background. We are greedy operators when it comes to filling the screen.
The Trona Pinnacles are remote and that always helps to provide some privacy in what we do, especially if we film in the early morning in the off season. I can’t really remember scheduling a shoot in the American West in the summer months; it just gets more complicated.
Road trips are good for team bonding; it gives us time to think and reflect on what we can do better in the creative process. Being out and about in the great American West should always be more productive than sitting behind a desk. I do think I mentally land on some of my better conceptual ideas when looking out from a car window.
71” x 89” (framed)
We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via Hilton Contemporary’s private art shuttle. Please inquire.
The Bad Ass (Colour)
This photograph, taken near the Californian mining town of Trona, very much follows my compositional formula of having a foreground, a middle ground and a background. If one of these layers is weak, the image is impaired and its ability to grab the attention of others suffers. We need the layers to tell as full a story as possible in one single image.
I think the formula in this photograph works as well as possible; the Trona Pinnacles look spectacular at sunrise and the winter storm clouds above were an unexpected bonus. The police cars and officers show our commitment to period storytelling; there is no point going about this in a halfhearted way.
It was cold in the Californian desert at 7.20 am and the whole process was completed in less than three minutes.
As it was, the storm clouds were a harbinger of a severe winter storm that dumped 10 feet of snow in some parts of the Sierra Nevada mountains. By 8 am the sun had gone and with it the opportunity to do any more filming. It was another case of our team being extremely focused on local weather forecasts.
To be on set at 7 am with the rider’s hair styled as well as it was, is a challenge in a remote location like this. The Pinnacles are only accessible in a 4-wheel drive car and at 5 am it was pitch black and the dirt road was flooded in some places. But we enjoy these logistical challenges – it makes the end product all the more pleasing.
71” x 109” (framed)
We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via Hilton Contemporary’s private art shuttle. Please inquire.
The Bad Ass (Black & White)
This photograph, taken near the Californian mining town of Trona, very much follows my compositional formula of having a foreground, a middle ground and a background. If one of these layers is weak, the image is impaired and its ability to grab the attention of others suffers. We need the layers to tell as full a story as possible in one single image.
I think the formula in this photograph works as well as possible; the Trona Pinnacles look spectacular at sunrise and the winter storm clouds above were an unexpected bonus. The police cars and officers show our commitment to period storytelling; there is no point going about this in a halfhearted way.
It was cold in the Californian desert at 7.20 am and the whole process was completed in less than three minutes.
As it was, the storm clouds were a harbinger of a severe winter storm that dumped 10 feet of snow in some parts of the Sierra Nevada mountains. By 8 am the sun had gone and with it the opportunity to do any more filming. It was another case of our team being extremely focused on local weather forecasts.
To be on set at 7 am with the rider’s hair styled as well as it was, is a challenge in a remote location like this. The Pinnacles are only accessible in a 4-wheel drive car and at 5 am it was pitch black and the dirt road was flooded in some places. But we enjoy these logistical challenges – it makes the end product all the more pleasing.
71” x 109” (framed)
We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via Hilton Contemporary’s private art shuttle. Please inquire.
Grumpy Monkey
The Snow Monkeys three hours west of Tokyo are accessible even in winter and it is difficult to capture fresh detail. This picture, on a bleak and cold winter’s day, probably works because everything about it is miserable to the point of being comical. The misty and dank weather matches the Snow Monkey’s mood. I had no light to play with and this is technically reflected in the lack of depth of focus. I am flattered that so many people adore this picture – maybe it says a little bit about us?
65” x 90” (framed)
We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via Hilton Contemporary’s private art shuttle. Please inquire.
The Vortex
There are some saloons in the West that retain a vice-like grip on their clientele. The customer’s loyalty is guaranteed in perpetuity no matter what may happen on any day within the bar. Indeed, the longer the list of unrefined behaviour becomes, the greater the notoriety of the bar. Every week new patrons – sensing fun – arrive like moths to a light. That’s how badass joints build their brand and their reputation.
For a bar to build that sort of image is impressive; it suggests continuity in staff, management and ownership as well as a commitment to deliver day in and day out. Very few bars in the world get here.
But No Name Saloon in Park City, Utah is one such saloon. The clientele are not there for a quiet time, they are there to test their livers in a setting that encourages the celebration of life. The Utah licensing laws make this bar hard to get into, but the energy once you get in, makes it even harder to leave. It is an unrelenting vortex of mischief.
No Name Saloon embraces Americana and any customer lending weight to that narrative is welcome, no matter the practicalities. So, on that basis, I thought bringing in a 2000 lb male bison on a snowy Tuesday morning could only add to the lore of the joint.
As I suspected, no one in the bar really cared – they just went on with normal business – they are not easily shocked in this part of the world. It was just another Tuesday. Who knows what happened in No Name on Wednesday.
69” x 118” (framed)
We ship worldwide and use a multitude of providers to safely deliver your masterpiece. Domestic delivery and installation may also be available via Hilton Contemporary’s private art shuttle. Please inquire.