transits 122, photograph
“I no longer worry whether a painting is about something or not. I am only concerned with the expectation, from a flat surface, of an illusion.”
– William Scott
All art is illusion since it is a (mis)representation of reality in some way – unless you consider it as a physical object in it’s own right (a bit of paper or canvas, some pigment or emulsion). But the art always stands for something else and it can never be that thing entirely.
I like to bring that quality to the surface of my work so that when you look at it, it’s apparent that I’m not simply trying to replicate reality. I’m inviting you into the illusion, allowing you to add your own interpretation, to construct your own reality out of the sketchy elements I offer up.
It can be a little unsettling and it requires a bit more effort to create the story, and all good art comes with a story, either entirely personal or more communal. Sometimes the material I provide doesn’t inspire your imagination to engage, other times it sparks an unexpected journey.
Either outcome is fine, I just ask that you keep looking.
ancient urban 4, photograph
“Sharpness is a bourgeois concept.”
– Henri Cartier-Bresson
I have a strong preference for photographic images that are partially out of focus. They seem to reside in that in-between, on the edge place that I find most interesting.
They remind me of the moment when you wake up from a dream and some elements of your consciousness are from the dream state while some are from your newly wakened state.
Finding just the right mix of abstract/literal, in focus/out of focus, distorted/straight is a challenge. I find that it’s a fine line one balances on. A little too far in either direction just feels off somehow. This actually adds an additional challenge for me as an artist, which provides a little extra creative juice to add to the mix.
Of course, this is all subject to personal taste. There are definitely folks who just have no interest in photography that isn’t tack sharp, infinite depth of field, etc.
For those of you in this camp, I refer you back to Henri Cartier-Bresson…
vapors 7, photograph
I’m excited to announce I will be having a one person show starting March 31st through mid-June at the art gallery at Thumbprint Cellars in Healdsburg. This is a wonderful venue for displaying art and I will be hanging 15 or so large pieces on canvas, many never printed before. I will have several “mini-themes” on display including several from my Vapors series, some very large nature abstracts, some figurative pieces and a new urban series.
There will be an opening Friday, April 1st from 5-7pm. If you are in the area it would be great if you could stop in so I could say hello and share with you what I’ve been up to. Thumbprint Cellars will be doing a wine tasting and food pairing that evening as well.
This show is part of the Winery Program associated with the Art at the Source Open Studio event I will be doing this year June 4/5 and 11/12. I hope you also get a chance to come by then!
hands 3, photograph
“I wished to copy nature. I could not. But I was satisfied when I discovered the sun, for instance, could not be reproduced, but only represented by something else.”
– Paul Cezanne
Another worthy distinction to bear in mind as an artist – the difference between reproduction and representation.
As a creator and as a viewer of art, I find representation much more interesting – and, of course, as Cezanne says, you really can’t reproduce another thing anyway!
There are many choices that go into deciding how to represent something. You have to make decisions about how your approach will be like and how it will be different from the thing represented. This provides ample room for interpretation and expression. There are an infinite number of ways to represent something, a very finite (perhaps singular) number of ways to reproduce it. As a viewer of art, trying to understand how and why the work represents it’s subject offers a visual and intellectual challenge that engages me.
When I think about representing, I am forced to consider what are the essential qualities of the thing so I can attempt to make those more evident in the piece. This deepens my understanding and experience of my subject in a way that simply reproducing it does not.
Just another way that artmaking is so much about the process, not just the end result.
vapors 54, photograph
“Why not go out on a limb? Isn’t that where the fruit is?”
– Frank Scully
I have mixed feelings when creating new work that is new and different. First there is the excitement of creating something (hopefully) unique. But there is also the uncertainty of whether I’ve strayed down a path that no one will join me on. Going out on a limb can be a lonely place – exhilarating, but scary.
Not only is there risk to the ego, but there is real risk to the pocketbook as well. Often a financial investment is required, to print and frame the work, to enter it in shows (usually there are application fees), to ship it to remote venues, etc. I guess you have to pay to play.
But, indeed, the best fruit hangs at the end of the limb. Playing it safe in the art world is usually not a recipe for success and even if some success occurs, it’s not as personally rewarding as that which comes with greater risk. It’s when I take risks creating something new that I feel that I’m coming closer to expressing myself honestly.
So I’ll continue to experiment, to try new ideas, print and show new work (much of which will probably end up in my storage unit!) – hopefully I’ll harvest some sweet fruit along the way!
smoking nude 2, photograph
“Careful planning, and brilliant improvisation.”
– Sergi Eisenstein
The yin and the yang of making art. Years of practice, hours or even days of careful preparation for a specific piece and then ultimately the surrender to the creative spirit. Planning gives way to improvisation.
As in all things, the key is finding the right balance. Planning without improvisation produces nothing or work that is static, lifeless. Improvisation without planning may lead to an occasional success but lacks consistency and dimension.
Moving from one phase to the next is hard. It’s sort of a left brain/right brain kind of transition. It requires a shift in focus that requires a leap of faith – faith that the planning has laid the foundation from which the improv will flourish.
The piece above, part of a new series for me, is a case in point. I photograph smoke and independently I photograph figures in motion. Both require a lot of technique, lighting setups, creative use of exposure, etc. Lots and lots of shots to get some that work. The improvisation comes when I start combining them into image collages, looking for complementary forms and motion. I enjoy the discipline needed at the beginning and the freedom to play at the end.
The yin and the yang.
transient 3, photograph
“The job of the artist is always to deepen the mystery.”
– Francis Bacon
I’m not very interested in using photography in some of it’s more common forms – to explain, document or reveal. Rather I’d rather put it to work in the service of mystery.
Mystery arouses curiosity and speculation, which allows for a greater range of meaning. In fact, since photography is so well suited to literal description, the use of ambiguity can be even more compelling.
Perhaps an apt analogy is between a documentary film and film which is fiction. While good documentaries can be fascinating, they usually don’t involve the viewers imagination and emotion in as complex a fashion. Documentary film and photography brings you face to face with reality – the impact of that reality can be powerful. But non-documentary film and photography invite you to create your own reality, make up your own story.
Deepening the mystery is an important way for me to pen my own reality…