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Lately, I've attempted to construct my still life scenes to contain formal elements but with a bit more levity.
When I made the switch to from traditional silver to the digital process around 2000, I constructed a small sandbox in my studio which I used to experiment with the scale of objects in small, still life presentations. They were minimally reworked in the computer, but gradually over time, I have become less concerned about manipulation within the computer which is, after all, just another tool.
In 2011, the original sandbox was converted to a large lightbox with a facing screen to produce a more abstract series of works emphasizing subtle shadows and muted lighting. I'm pleased by the luminosity and texture of the resulting prints.
I've always loved traditional surreal art and although much of my work contains an element of surrealism, I've only recently felt that I could make a more direct statement in that realm. I'm intrigued by what might be hidden beneath the surface of things.
Painting directly onto B&W silver gelatin prints is a technique used in photography as early as 1839 to produce colorized images. My own preference for an 'alternative' style of prints often colorizes only a portion of the whole image.The challenge is to produce a subtle work that captures mood without relying on canned colors or being garish.
Some of my favorite older images scanned from negatives
When traveling,my wandering mind is free to observe window reflections, isolate unusual shapes, or sometimes what seems to be a natural still life that demands to be isolated from it's background.
Artist At Work