one. reporter: a trial date was set for seven months later, october, 2013, and trial number two would be heard in a new courthouse. there had been a change of venue to the town of mt. pleasant, making it even tougher on the caldwell the. the daily treks to court, lives disrupted. the new courtroom had a distinctive layout that put the caldwell family directly behind the defendant. he s literally sitting right in front of me. like you are. reporter: which only made it more frustrating for presley who was trying for any kind of connection to someone she once loved like a brother. i m staring at him like glance at me, do something. he doesn t. reporter: and even more painful for the family was having to sit through again all that heartbreaking testimony and raw crime scene photos of their lisa and the unborn baby girl. other than the change of venue, seth techel s second murder trial played out as a carbon
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Since 1999, Sean Scully’s Landline paintings have led a transition from what John Caldwell called ‘the asceticism of his earlier black paintings’ towards the ’emotion, space, colour and physicality’ [i] of a more expressive style that has traced the world’s contours. As Scully says, ‘I change, of course, and hopefully expand’. In the Landline series, Scully seeks to paint his ‘sense of the elemental coming-together of land and sea, sky and land … the way the blocks of the world hug each other and brush up against each other.’ [ii]
The series works as a guide for how to look at or feel the natural world