Thursday, August 9, 2012

particle pool

"twisted vines" (c) 1995 george elsasser

FORMAL STATEMENT: It is the journey, the investigation of the overlooked [invitations] in modern art that interests me. Instead of rejecting the established canon, my aim has been to explore and develop new possibilities suggested by it. 

All of these images are [straight photographs] in the sense that they are single exposure, in-camera creations. They are made from fixed positions without camera movement, utilize action freezing shutter speeds, or faster, are printed in the traditional darkroom and incorporate no digital manipulation or enhancement. 

These photographs have evolved from my continuing exploration, artistic assimilation, and utilization of the natural distortions of the photographic lens, such as diffraction and aberrations. In this work I continue striving to create and further explore a photograph more draftsman like in its use of line, gesture, color blending, and transparency that is more directly expressive than henceforth possible. 

Since 1984 (moving from black and white to color) and again even more so in 1992 I have felt an urge to try and deliver more emotional impact through my photography, in addition to it's already existing meditative qualities. In 1992 I began exploring possible relationships between photography and painting, including extensive painting on my own. I have since felt that painting and painters have much more they can teach me about line and color than photographers, so I began extensive study of people such as Van Gogh, Cezanne, Matisse and de Kooning in about 1996. Most recently, I have actively begun creating rapid drawings, utilizing the spirit of automatism, to further enhance and inform my photographic language. 

This photographic work explores the innate distortions of the lens as an asset, a means of constructing two-dimensional images, which create effects and forms resultant from the simultaneous construction and deconstruction of objects through focus. These effects and forms are enhanced or obscured by specific use of light and color. The resulting images are not experiments but rather explorations. Planes of focus, layering, color mixture and juxtaposition have allowed me to break down the boundaries between foreground, middle-ground, background; I am fascinated when color becomes form and light becomes line.

Exhibition reviews focused on this work.

Future work which Particle Pool affected was
begun in 2005 and is called leela.


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