Photos, videos and docs of William Sutherland, with the keywords: "Collage"

10546 Millwood, NY

nobody@ipernity.com (William Sutherland) — Tue, 28 Jul 2026 21:44:38 +0000

Millwood, NY
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Images of New Rochelle

nobody@ipernity.com (William Sutherland) — Tue, 21 Jul 2026 01:18:28 +0000

New Rochelle, NY

Inspired by Amelia's collage - Catching the eye around Shrewsbury - www.ipernity.com/doc/1021409/53382852

Culinary Joy

nobody@ipernity.com (William Sutherland) — Sun, 24 May 2026 21:29:17 +0000

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Created April 25, 2026 from settings at Larchmont, NY (l.), New Rochelle, NY (top c.), Larchmont, NY (bottom c.) and Jacksonville, FL (r.)

This vibrant collage – “Culinary Joy” captures the multi-faceted essence of celebration, artistry, and indulgence through the universal language of food and drink. Divided into four distinct moments, it tells a story of culinary craftsmanship that ranges from the deeply traditional to the playfully modern.

The Grand Display: On the left, a majestic roasted turkey serves as the centerpiece of an elaborate feast. The scene is alive with intricate garnishes: an elegant swan meticulously carved from fruit that is among vivid red tomato roses, and segmented citrus carefully arranged amidst fresh greenery and rosemary. It evokes the warmth of a festive holiday gathering where food is transformed into visual theater.

Contemporary Elegance: In the top center, the narrative shifts to a refined, modern plate. A beautifully seared protein rests atop a bed of roasted root vegetables and bright cherry tomatoes, crowned with a single, delicate blue edible flower. This dish represents precision and balance—a moment of quiet, upscale dining where color and texture harmonize on a white canvas.

Whimsical Confections: Below it sits a charming, miniature cake that brings an immediate sense of lighthearted fun. Designed with a smiling with rosy cheeks, and toasted marshmallow-like layers drizzled with chocolate, it embodies pure sweetness and the simple pleasure of dessert. It is a reminder that food should not only taste good but also bring a smile to one’s face.

A Splash of Vibrant Refreshment: Anchoring the right side is a brilliant blue cocktail served in a classic martini glass, perched on a rustic wooden table. Garnished with a crisp orange half-wheel, the striking contrast of azure and gold brings an energetic, tropical flair to the collage – a celebratory toast to cap off a journey of flavors.

Together, these images celebrate the diverse ways culinary creations bring us together, offering a rich sensory experience that honors tradition, artistry, and playful imagination.

Note: GeminiAI (Google®) assisted with the narrative.

Analog Connection

nobody@ipernity.com (William Sutherland) — Sun, 05 Apr 2026 14:15:28 +0000

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Analog Connection: This collage was created four photos. The top left is a photo of a section of a V-Tech® Phone (Larchmont, NY 4 – April 2026), the middle left is a photo that creates the “eyes” are of a pair of security sensors (Mamaroneck, NY – 2 April 2026), and the bottom left that creates “lips” is of a section of a Deco® humidifier (Larchmont, NY – 4 April 2026). The photo on the right consists of a section of Capehart® Radio/Record Player/8-Track Player (c. 1970) (New Rochelle, NY – 29 March 2026). The collage was digitally edited to create a “Neon” effect.

Note: The descriptive narrative about this collage was enhanced by collaboration with Gemini AI® (Google) based on its analysis of each photo and its entirety.

The high-contrast, solarized “neon” effect transforms everyday tactile interfaces – the radio dial, phone buttons, and analog knobs into something that feels both nostalgic and futuristic.

We exist in a world of constant, invisible waves – signals seeking a receiver, voices seeking ears to listen. This image reveals the interfaces of yesterday we once used to navigate that unseen landscape.

The glowing red of the power answering machine’s power button and the sharp, neon-etched lines of the frequency tuner suggest a machine that is alive and humming with the energy. By stripping away the mundane context of these objects, the focus shifts to their essential forms: the concentric circles of the "Bass" and "Balance" knobs, the grid of a keypad, and the precise verticality of the radio scale.

It is a study of connection. Whether through the press of a "Redial" button or the careful adjustment of a tuner to find a clear station, these are the tools of human outreach. By isolating the mechanical textures of a telephone keypad, a radio dial, and adjustment knobs, the composition emphasizes the geometry of connection while also pointing out the importance of having "balance" in our everyday lives.

The saturated neon-like glows and deep shadows create a sense of mechanical intimacy, inviting the viewer to feel the dial and hear the click of a switch.

The pareidolia shifts the viewer’s perspective from seeing cold hardware to sensing a watchful, sentient presence that provides an emotional anchor. The "eyes" appear to peer out from the darkness, bridging the gap between the internal electronics and the external world.

Through emphasis on the collective forms of the combined photos, the narrative of the collage shifts. It becomes less about the objects and more about the interactivity between human perception, technology and most importantly connectiveness between people and between people and machine. In short, the machine is not just being used; it is looking back.

Miksang Collage

nobody@ipernity.com (William Sutherland) — Tue, 31 Mar 2026 22:18:30 +0000

William Sutherland has posted:

Miksang Collage: The photos on the left and top right were taken in Mamaroneck, NY on 31 March 2026. The photo on the bottom right was taken in Larchmont, NY on 29 March 2026.

Note: Miksang is all about fresh seeing – encountering the ordinary world without preconception. The descriptive narratives about each photo was provided by Gemini AI® (Google) based on its analysis of each photo.

Photo (left):

Direct perception of form and texture: The bare tree, the rough stucco wall, and the scattered leaves invite the viewer into a moment of quiet observation.
Natural Composition: The tree is centered, but not rigidly. The circular hole and the organic scatter of leaves and twigs add asymmetry and visual interest without disrupting the calm.
Seasonal Honesty: The leafless branches and dry ground speak to dormancy, impermanence, and the passage of time – themes that contemplative photography often embrace.
No distraction, No Narrative: The viewer is free to experience the image directly, which is the essence of Miksang.

Photo (top right):

Direct Perception of Color: The vivid orange paint against the muted concrete and asphalt creates a moment of pure color experience, one of the core Miksang themes.
Simplicity of Form: The numerals and strokes are not being interpreted as “utility marking” – they are simply shapes, gestures, and color fields. That shift from meaning to seeing is exactly what Miksang trains the eye to do.
Texture Awareness: The rough concrete, the smoother asphalt, the crisp edge of the curb – all of these surfaces invite the viewer into a tactile, contemplative moment.

Photo (bottom right):

Direct Perception: The image captures a moment of pure visual awareness – the shadow of the fence, the texture of the asphalt, and the interplay of light and geometry – without manipulation or conceptual framing.
Ordinary made Extraordinary: A mundane scene becomes visually captivating through attention and clarity, which is central to Miksang’s contemplative approach.
No Distraction: There is no clutter and no narrative imposed – just the raw visual experience of shadows, lines, and surface that create striking geometry and interplay between the fence pattern and shadow to create the feeling of an abstract drawing laid across the pavement.

Snowy January Day 2026

nobody@ipernity.com (William Sutherland) — Sun, 18 Jan 2026 23:04:36 +0000

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New Rochelle, NY and Larchmont, NY (Teddy Bear Only)

Beach Collage (Without the Water)

nobody@ipernity.com (William Sutherland) — Thu, 20 Mar 2025 17:54:47 +0000

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Byram Park Beach, Greenwich, CT

Brownstone Collage

nobody@ipernity.com (William Sutherland) — Thu, 14 Nov 2024 00:42:30 +0000

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Tarrytown Music Hall, Tarrytown, NY

Saratoga Springs, NY 2024

nobody@ipernity.com (William Sutherland) — Thu, 24 Oct 2024 01:49:00 +0000

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l.-r.: The Deer Park Spring tubed in 1876 (23 October 2024) and historic architecture on Broadway (22 October 2024), Saratoga Springs, NY

Deer Park Spring Fountain, Saratoga Springs, NY (23 October 2024)

Below: Congress Park Scenes, Saratoga Springs, NY (23 October 2024):

Orange

nobody@ipernity.com (William Sutherland) — Mon, 09 Sep 2024 00:36:18 +0000

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Donald M. Kendall Gardens, Purchase, NY

Note: Created from photographed sections of Hats Off created in 1969 by American Sculptor Alexander Calder (1898-1976).

Stained Glass Abstracts

nobody@ipernity.com (William Sutherland) — Sun, 26 May 2024 12:37:54 +0000

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St. Paul Roman Catholic Church, Rye Brook, NY

Abstract of a stained glass window created in 1970 with panes featuring humble prayer, a cross and Ichthys "fish."

Anthropocene Artifacts

nobody@ipernity.com (William Sutherland) — Fri, 26 Apr 2024 23:57:34 +0000

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Rye, NY

Graffiti and Decollage

nobody@ipernity.com (William Sutherland) — Sun, 24 Mar 2024 09:33:25 +0000

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Bronx, NY

I will forgive their
Iniquity – and their sin
Remember no more.

Peace be upon all
From that momentous day he
Was raised back to life.

Having risen from
The dead, he has made us born
a new creation.

The thorns and the cross
Expressions of God’s love
Bring life eternal.

Note: Haiku verses 1-3 are based on Yirmiyahu/Jeremiah 31:33 [Torah], haiku verses 4-6 are inspired by Maryam 19:33 [Qu’ran] and haiku verses 3-9 are based on 1 Peter 1:3.

Spotted Lanternfly 斑点灯笼蝇

nobody@ipernity.com (William Sutherland) — Fri, 25 Aug 2023 17:13:08 +0000

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Mamaroneck, NY -- 19 August 2023;
Ward Acres, New Rochelle, NY -- 25 August 2023
Cartoon Image created in DALL·E 2

"[T]he... strongest kind of fear is fear of the unknown."
– H.P. Lovecraft (1890-1937)

Irrational paranoia directed at only one species is counterproductive. They don't bite, don't transmit diseases (e.g. Lyme, Malaria, West Nile, etc.) and are actually quite friendly.

The Spotted Lanterfly (斑点灯笼蝇) arrived to the United States in 2012 from China after imported stoned included eggs. The first sighting of an adult spotted lanternfly was in Pennsylvania in 2014. This year, lower Westchester and parts of New York City have become a sort of epicenter for the spotted lanternfly. As spotted lanternflies are relatively new to the United States, the fear is palpable!

While futile efforts are being made to eradicate them through spraying (that will also poison other creatures in the ecosystem) and "kill on sight" orders -- the fact is they have become endemic and American society will have to learn to live with them.

As long as they exist in manageable numbers, grape crops and trees should be okay. Their favorite trees are the "Tree of Heaven" and "Sumac," with the latter being an invasive species. Perhaps the spotted lanternfly is performing a beneficial service (natural eco-management) with regard to the "Sumac" tree. Also, aside from grape plants, they don't appear to eat the plants or fruits and vegetables of other crops!

As a recommendation, grape farmers might consider covering their plants in netting to protect them especially since such a step would be more ecologically friendly. At the same time, perhaps with research we can develop a sort of natural birth control mechanism that could further ensure spotted lanternfly numbers remain manageable.

Overpopulation of any species – not just the spotted lanternfly, which does have natural predators here in the USA (e.g. some snakes, birds,praying mantises, hornets and spiders) – humans too – always wreck ecological havoc. Just look at our planet today with every new year setting extreme heat records, growing numbers of more intense wildfires, droughts, floods, not to mention the intense destruction we're causing all over the planet!

Finally, whether it's popular or not, I choose to co-exist with the spotted lanternfly and won't kill them especially since I find it appalling we humans think the entire planet only belongs to us and have the right to decide what species live or die in nature!

As a follow up, on 12 September 2023 I found several Spotted Lanternfly colonies in Rye, NY and it seems nature is adapting to create a population control mechanism. Yellow Jackets were swarming at all of these colonies where the Spotted Lanternflies have been laying eggs; they even created underground nests to be close-by. It seems they have discovered the eggs and found they are a new source of food. In fact, it seems yellow jackets are swarming in many places where Spotted Lanternflies have begun to or have laid eggs, perhaps attracted by the faint aroma of the white glossy substance they use to cover their eggs.

Medieval

nobody@ipernity.com (William Sutherland) — Mon, 01 May 2023 23:31:50 +0000

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Museum of Art, Cleveland, Ohio

Top left: Life-sized mounted Knight in Armor;
Top right: War hat or Kettle hat, circa 1475-1500;
Bottom left: Sword and Riveted Steel Male Shirt, circa 1400s;
Bottom right: Portrait of a Woman by Corneille de Lyon (1500-1575), about 1540, Oil on Wood

Note: To the medieval mind, which gave deep spiritual meaning to everyday objects, the sword was viewed as the noblest of weapons since its shape symbolized the cross on which Christ died. [Display Placard, Museum of Art, Cleveland, Ohio]

Ancient Egyptian Glory

nobody@ipernity.com (William Sutherland) — Sun, 23 Apr 2023 23:50:20 +0000

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Museum of Art, Cleveland, Ohio

left: Seated Pair, about 1479-1425 BCE, Painted Limestone; Reign of Hatshepsut/Tuthmosis III.

left center top: Relief of Hatshepsut or Tuthmosis III, about 1479-1425 BCE; Reign of Hatshepsut/Tuthmosis III.

left center bottom: Statuette of a Lion, about 380-246 BCE, Limestone.

right center: Ostracon: Ramesses II Suckled by a Goddess, about 1279-1213 BCE, Painted Limestone; Reign of Ramesses II.

right: Head of King Userkaf, about 2454-2447 BCE, Painted Limestone; Reign of Userkaf.

Window Paintings

nobody@ipernity.com (William Sutherland) — Wed, 19 Apr 2023 22:31:31 +0000

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Abandoned Building, E. 4th Street, Cleveland, Ohio

Lonely and abandoned,
In the twilight of its life,
The shuttered building stands,
Its thriving past a faded memory.
Yet it dares hope with painted vibrance
for an extended lifeline;
and for as long as it stands,
It dreams of rebirth and renewal.

© 2023 – William Sutherland

African Art

nobody@ipernity.com (William Sutherland) — Wed, 29 Mar 2023 08:41:35 +0000

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Cleveland Museum of Art, Cleveland, Ohio

Top left to right: Ancestral Commemorative Head (uhunmwun-elao), c. 1550-early 1600s, West Africa – Nigeria/Benin Kingdom; Mask, early 1900s (before 1933-37), West Africa – Liberia; Dance Staff for Èsù (Ògo Èlégba), 1800s, West Africa – Nigeria

Bottom: Antelope Headdress (chi wara), Early to mid-1900s, West Africa – Mali

Federal Reserve Bank of Cleveland

nobody@ipernity.com (William Sutherland) — Sun, 26 Mar 2023 16:38:28 +0000

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Cleveland, Ohio

(left photos taken 23 March 2023; right photo taken 24 March 2023)

Note: The Federal Reserve Bank of Cleveland's building was completed in 1923. It was designed by that city's architecture firm – Walker and Weeks. The allegorical statues in front of the main entrance representing security and integrity were created by Henry Hering. The building imitates Italian Renaissance Palazzo style.

Geometric

nobody@ipernity.com (William Sutherland) — Tue, 21 Feb 2023 09:21:04 +0000

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Collage of Gov. Mario M. Cuomo Bridge, Tarrytown, NY