Statement
Whereas a painter can depict subjects that exist only in their imaginations, photographers are constrained by the real world: we must begin by photographing something that actually exists -- something that we can actually see. Because of this, most photographers are magnetically attracted to “Realistic” or “PhotoRealistic” styles, attempting to produce the most accurate representation of the "Flower" or of the "Face."
My approach differs. I cannot compete for realistic perfection. But I can use my originality and creativity to imagine a subject that is emotionally (although perhaps not physically) correct; one imbued with sentiment or sensation or intensity. I can surprise the viewer, distract or even shock her.
How to do it? Using Abstraction. With Abstraction, I can add or subtract mystery or understanding, emphasize or understate with repetition and/or color and set or skew the mood with complex shapes or dreamy contours.
Like any photographer, I choose my subjects where I can find them in the real world. As artist Giorgio Morondi said, “Nothing is more abstract than the visual world.” What my Portfolio displays are real objects, not computer simulations, reproductions, generations, etc. Sometimes we may recognize the subject and sometimes not but it really doesn't matter -- the photo stands on its own as an image totality -- what one sees is what one assesses and judges; and also (as in all Abstract art) what one reacts to emotionally.
Where possible, I spend a lot of time on photo composition. My choice of subject is essential – no subject is off-limits – but the most important decision is composition – I spend as much time as I can composing the image and here it is time well-spent. I then use the camera's abilities as flexible tools to illustrate – just as a painter might use different types of brushes, paints, squeegees and spatulas as tools. In addition, I use my imagination to not only see the subject there in front of me, but also to what destination that subject might lead, if I push it. I am constantly measuring, analyzing, estimating, assessing, evaluating, fitting, appraising so as to gauge what I, as an Abstract photographer, might add in value to the subject: I might have to blur, tilt, get abnormally close or abnormally far from the subject, etc. – it is an extra step but again well worth the result.
That is the “how” I create; here is the “why”: I require beauty in my world and wish to contribute to its creation in my own small way. I have years of observing others' ideas of beauty. I’ve been influenced both by “classical” artists such as the 17th and 18th century Europeans, especially Rembrandt and Goya. I've admired Impressionists like Van Gogh, and Modernists like Lyonel Feininger and Georgia O’Keeffe as well as contemporary Abstract artists like Tony Sweet. Now I would like to add my own beauty to our common estate. And I believe I can do so with a unique artistic interpretation which although common in paintings, is rarely expressed in photography. So the accompanying Portfolio reflects the diversity of my Abstract styles – Abstract photography through my eyes.