{"id":361681,"date":"2026-05-28T07:11:43","date_gmt":"2026-05-28T07:11:43","guid":{"rendered":"https:\/\/som2nynetwork.com\/?p=361681"},"modified":"2026-05-28T07:11:43","modified_gmt":"2026-05-28T07:11:43","slug":"leana-clifton-on-light-motion-and-time","status":"publish","type":"post","link":"https:\/\/som2nynetwork.com\/?p=361681","title":{"rendered":"L\u00e9Ana Clifton on Light, Motion, and Time"},"content":{"rendered":"


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Since relocating to Marfa in 2007, L\u00e9Ana Clifton has built a practice around what happens when nothing much happens. The town moves slowly, but a few times a day a freight train cuts through it, loud enough to shake the ground. That contrast runs through her recent work. Trains, clouds, light shifts across open land. Familiar things that are not held in place for long.<\/p>\n

Clifton uses long exposure to pull these moments apart while they\u2019re still happening. Color stretches, edges blur, movement leaves a mark instead of a clear image. The photograph is the starting point. Once printed, she works back into it by hand, adding lines, adjusting rhythm, pushing certain details forward while letting others fall away. What\u2019s left keeps a sense of the original force, but doesn\u2019t try to describe it directly.<\/p>\n

\"L\u00e9Ana\"L\u00e9Ana
L\u00e9Ana Clifton
\u201cUnion Pacific,\u201d 3289
Image courtesy of the artist.<\/figcaption><\/figure>\n

On Working in Marfa<\/h2>\n

You moved to Marfa in 2007 after years of working as a professional photographer. What did Marfa make possible for you?<\/strong><\/p>\n

L\u00e9Ana Clifton:<\/strong> The first morning I woke up in Marfa (the day after the big move and a twelve-hour drive), I felt as if I were walking on clouds. Everything moved just a beat slower. I remember standing at the kitchen sink, looking out at the large mulberry tree in our backyard, and realizing I was so quiet. I could hear doves talking to each other. I could start to hear myself again. It felt like pure magic<\/a>.<\/p>\n

There is a quiet in Marfa that brings me clarity. My mind is often in constant motion\u2014thinking, wandering, looping\u2014but here, something shifts. Marfa slows my thoughts, allowing me to hold on to what matters and gently release what doesn\u2019t. To be in the moment with my full senses, seemingly at all times. Life becomes distilled to its most essential form, and, in turn, so do I. My mind, my heart, my sense of self.\u00a0<\/p>\n

Mental sorbet, I call it. The removal of physical and mental noise, connecting to the source.<\/p>\n

\n
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There is a quiet in Marfa that brings me clarity.<\/p>\n<\/blockquote>\n<\/figure>\n

In Marfa, I\u2019ve learned to stand still. To rest in the shade of a tree and simply observe the world as it unfolds. The way clouds gather over the northern mountains. The way a small black dot slowly reveals itself as a bird, then expands into the vast wingspan of a circling buzzard. The way a train emerges between the mountains quietly in the distance, carving its path through the desert, seemingly without urgency. This \u201cBig Empty\u201d as I call it, changes the perceived scale of things. Makes everything look and feel different, like a mental lens or a filter.<\/p>\n

This stillness is punctuated a few times a day by a freight train blowing its horn through town. Its force fills the entire landscape when viewed up close. Then back to the quiet.\u00a0<\/p>\n

\"L\u00e9Ana\"L\u00e9Ana
L\u00e9Ana Clifton
\u201cWith My Head in the Clouds,\u201d 7089
Image courtesy of the artist.<\/figcaption><\/figure>\n
\"L\u00e9Ana\"L\u00e9Ana
L\u00e9Ana Clifton
\u201cUntitled\u201d
Paint, pencil, pastel, burnishing, mixed media over photography on paper
Image courtesy of the artist.<\/figcaption><\/figure>\n

You\u2019ve described the original subject matter as a \u201cdonor,\u201d something you sample and then disconnect from. What do the freight train and passing clouds allow you to leave behind?<\/strong><\/p>\n

Clifton:<\/strong> The freight train is the source of color in a desert landscape that for much of the year is defined by minimalism<\/a> in its purest form. It\u2019s the perfect backdrop. The train represents the outside world\u2014speed, power, movement, and excitement\u2014cutting through the stillness of Marfa for a moment.<\/p>\n

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At close range what you see is not machinery, but an almost hypnotic wash of color.<\/p>\n<\/blockquote>\n<\/figure>\n

What appears minimal in my work is, in fact, layered with intensity. Up close, a moving freight train is both mesmerizing and intimidating. It demands respect. In larger cities, trains are often distant, reduced to background noise. In Marfa, however, you experience their full fury as they cut through the middle of town blowing their horns. You hear them approaching from miles away. You feel the ground shake before they arrive. When they pass, they are overwhelming. An immense display of force, sound, vibration and motion. At close range what you see is not machinery, but an almost hypnotic wash of color. An ocean of movement that feels immersive and strangely seductive. For a fleeting moment, it transports me into memory<\/a>, into imagination, into something softer and more dreamlike. And then, just as suddenly, it disappears.<\/p>\n

By contrast, the summer clouds drift by in complete silence: playful, weightless and calm. They evoke a different kind of memory for me, one rooted in stillness and reflection growing up. Watching them recalls moments of lying in the grass as a child, observing the sky and letting time slow down. Daydreaming \u2026 That quiet act of looking becomes deeply grounding, almost meditative.<\/p>\n

So what do these elements allow me to leave behind? They leave behind the immediacy of the visceral experience: the noise, the force, the physical intensity, the color and the lines. What remains is a distilled impression of reality, over which I can layer my paint and pencil by hand, adding a new, more precise dimension.<\/p>\n

My work begins with something powerful and transient, but what endures is something far more subtle. A calm, whimsical feeling. It is the essence of color, emotion, and memory, reduced to its most poetic form: the trace of a dream.<\/p>\n

On Process: Painting With Light<\/h2>\n

When you say you use the camera to \u201cpaint with light,<\/a>\u201d what are the decisions that happen in the moment? Tell us about your process.<\/strong><\/p>\n

Clifton:<\/strong> When I say I use the camera to paint with light, I truly mean using the camera as a brush rather than capturing a still photo. The act of capturing the color and light with a tool such as a camera is only the beginning.\u00a0<\/p>\n

With my \u201cMarfa Train\u201d series, the process starts the instant I hear a train off in the distance, probably five miles away. Sound travels surprisingly well in the desert. At that point, I shift into what I call \u201chunter mode.\u201d Whatever I was doing disappears and instinct takes over. Time compresses. Every second counts, and my camera is always ready. As I move (often running to my vehicle), I\u2019m already making a series of rapid, intuitive decisions. What time of day is it? What is the quality of the light? Are there clouds, or anything else that I want to incorporate into the composition? I\u2019m thinking about direction. East or west? Where is the train coming from and at what speed? Freight or passenger? Where can I intercept it? How will the landscape interact with the motion? I choose my route quickly. Main roads or back roads? I position myself with both intention and safety in mind, typically quite close to the speeding train.\u00a0<\/p>\n

Light is my primary tool. I decide whether I want to work with the sun striking the train directly, creating a brighter, more overexposed palette, or if I want to work from the shaded side, where deeper tones and richer saturation emerge. Each choice affects how the colors will behave, whether they separate into lines and fine detail, or soften and melt together into pure abstraction.<\/p>\n

When I finally see the train, there\u2019s a surge of adrenaline. I position myself ahead of it, giving just enough time to prepare. There\u2019s a moment of connection\u2014I often acknowledge the conductor\u2014then everything else falls away and I go into autopilot. After more than two decades behind the camera, the technical decisions become instinctive. My body knows what to do before I consciously think of it.<\/p>\n

In that perfect moment, I take a breath, release the shutter, and allow motion, light, and time to collaborate and be sucked into my camera. At speed, the steel, paint and markings of the train dissolve into one another, creating fluid, painterly forms. With longer exposures, multiple elements merge, forming entirely new visual relationships. If clouds are present, they can become anchor points, sharp against the motion, while the train transforms into something unrecognizable, a gesture rather than an object. Each image is its own unique creation, unrepeatable, and shaped by a precise combination of timing, movement, and light. There is a certain magic in surrendering control while still guiding the outcome.<\/p>\n

The final stage happens after I print the image large and paint and draw over it. That\u2019s where I slow down again, I meditate on the work, studying the subtleties within the image. I enhance with delicate line work and refine details with hand-painted markings, drawing the viewer deeper into the piece and completing the transformation from photograph to visual experience. Some pieces are very restful, some are high energy. I love playing with those emotions.<\/p>\n

\"L\u00e9Ana\"L\u00e9Ana
L\u00e9Ana Clifton
\u201cUntitled,\u201d 2026
Paint, pencil, pastel, burnishing, mixed media over
photography on paper, 20 \u00d7 20 inches (each)
Image courtesy of the artist.<\/figcaption><\/figure>\n

On Time and the Image<\/h2>\n

Your images merge many instants into one still. What do you feel long exposure does to the viewer\u2019s sense of time?<\/strong><\/p>\n

Clifton:<\/strong> I like bending time. It gives me control of color saturation and other technical aspects. Long exposure allows me to capture multiple moments and compress them into a single, exciting frame, one that feels as though it extends beyond the edges of the paper. It blurs time and turns something fast and fleeting into something immersive, emotive and enduring.<\/p>\n

By contrast, the various media that I add by hand, delicately layered over the photograph, draw the viewer back in for a closer look. They invite a slower, more deliberate kind of looking, an attention to nuance, texture and detail that might otherwise be missed. Together, these elements create a quiet tension: time both expands and compresses, encouraging the viewer to linger within the moment rather than simply pass through it. A kind of superposition of the elements.<\/p>\n

Please tell us about your formats. A lot of your work lives in a square. What does the square and other formats do for you?<\/strong><\/p>\n

Clifton:<\/strong> I\u2019m drawn to the square because of its sense of equilibrium. It holds space in a way that feels resolved and self-contained. In my work, where the train often cuts the frame in half, the square reinforces that division while maintaining a quiet, visual balance. It allows the composition to feel grounded, even when the subject itself is in motion.<\/p>\n

\n
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I want them to notice the hand\u2014the patience, the pattern, the care\u2014and to ask themselves: what does this combination of color mean to me, right now?<\/p>\n<\/blockquote>\n<\/figure>\n

There\u2019s also a resonance in the format to which I\u2019m intuitively connected. While I\u2019m not seeking to echo artists like Donald Judd or Mark Rothko, the square carries a similar sense of presence and contemplation. It creates an area that feels both balanced and expansive at once.<\/p>\n

I do occasionally work in a landscape format when the image calls for more narrative detail or a broader sense of movement. But for this body of work, the square feels most aligned. It holds the tension, the balance, and the essence of the piece in its most complete form.<\/p>\n

\"Le\u0301Ana-Clifton_Veldt-Gallery\"\"Le\u0301Ana-Clifton_Veldt-Gallery\"
Le\u0301Ana Clifton at Veldt Gallery.
Image courtesy of the gallery.<\/figcaption><\/figure>\n

Your upcoming solo exhibition, \u201cMarfa Daydream,\u201d opening May 15 at Veldt Gallery, is described as diving deeper into color, light, and time. When viewers walk into the show, what do you hope they experience?<\/strong><\/p>\n

Clifton:<\/strong> With \u201cMarfa Daydream,\u201d I hope viewers allow themselves to pause, to stand still long enough for the color to wash over them, to let the captured light reveal small, flickering moments of joy. I want them to notice the hand\u2014the patience, the pattern, the care\u2014and to ask themselves: what does this composition or combination of colors mean to me, right now?<\/p>\n

In Marfa, daydreaming feels essential. It\u2019s the frequency of the place in a way.<\/p>\n

So my hope is simple. That people walk into the gallery and give themselves permission to slow down. To feel. To remember. To imagine. That they take something with them when they leave, not just an image but a sensation. A softness. A stillness. A question. What if? And maybe, just maybe, they let that question follow them long after they\u2019ve stepped back into the real world, changed slightly by the color, the light, and the time they allowed themselves to feel in this body of work. And hopefully seeing the world in a new way.<\/p>\n

Featured image: L\u00e9Ana Clifton, \u201cWith My Head in the Clouds,\u201d 7168, Image courtesy of the artist.<\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

Since relocating to Marfa in 2007, L\u00e9Ana Clifton has built a practice around what happens when nothing much happens. The town moves slowly, but a few times a day a freight train cuts through it, loud enough to shake the ground. That contrast runs through her recent work. Trains, clouds, light shifts across open land. 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The town moves slowly, but a few times a day a freight train cuts through it, loud enough to shake the ground. That contrast runs through her recent work. Trains, clouds, light shifts across open land. 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