Three’s Company, an imageI made on a snowy winter’s day in Bucks County, PA, has become one of my “signature” pieces. A “signature” piece is one that is characteristic of who one is as an artist. It represents one’s style, and the attributes of what the artist is drawn to visually. A “signature” piece is one that is recognizably attributed to a particular creative.
Three’s Company has appeared in newspapers and magazines, as well as on show postcards, but it has been it’s exhibition in gallery and art festival venues that has made it known. Introduced as a Limited art print totaling 500 across all edition sizes, it quickly became one of my best selling works. One size in particular, the 16×20 matted version, has been very popular and is now almost sold out. I have updated my gallery on-line to reflect that only 6 pieces of the original 200 allocated to the 16×20 mat size are left. All six pieces are already framed and ready to ship, any remaining pieces will travel with me during my 2018 show tour (visit 2018 Tour). Other print options in the overall edition size for this image will continue to be available.
A “signature” style is something every artist should strive for. The collection of attributes which define who an artist is as a creator of works is what allows collectors to see the authenticity in the artwork. The image Three’s Company speaks to my style in several ways. It expresses my feelings for, and interest in, nature. It also exemplifies my minimalist aesthetic and my appreciation for the everyday beauty of the world. My imagery is not of exotic lands or dramatic subjects, in fact most of it is created within a small radius of miles from my studio and home. I live an aesthetic life and express that in my work.
I enjoy hearing from collectors about how they live with my work. A recent purchase from my gallery online was for an image of a Blue-Gray Gnatcatcher. It isn’t a picture about the bird however. It’s an image about joyful singing on a beautiful spring day. After Donna C. from New Jersey received her matted pigment print she sent an email to thank me and to let me know “that beautiful singing bird is looking great in my music studio (where I teach voice)!”
In my work the content of the images are rarely what the image is about. I’m more interested in the meaning of the objects in an image, what they stand for, or the emotion they elicit. Birds may serve as metaphors for many things, but joyful singing certainly seems like a good one.
Everyday personal experiences with nature are the foundation to our larger appreciation of the world we live in. Recently a collector of my work named Sandy, shared a story of her affection for the common American Robin. She was interested in a piece that would celebrate her experience of caring for a Robin until it could fly away. I selected two pictures from my collection of images and offered her my first printing of either one.
Happily, Sandy selected a piece in a walnut frame that I will be shipping to her. Her choice was the image I titled Easy Pickins depicting an American Robin on a fruit laden tree. The price for the framed print which includes a nicely finished dust-cover on the back with a pocket for the Certificate of Authenticity, is $129.00. Visit my website for a full selection of available works by clicking HERE.
As a visual artist working with the medium of photography, I am always aware that I am translating a three-dimensional, moving subject into a two-dimensional, static image. What I try to achieve in my work is a sort of visual tension so that the viewer feels that movement is imminent or even actively occurring in the scene. I convey these feelings in landscape and still-life images partly through the flow of line and geometry. With wildlife subjects, I create images where the animal’s posture is full of kinetic energy. These images suggest, as Mike, who with his wife Debra collects my work, recently wrote to me, “that the life force will drastically change the scene in the next moment.” He continued, “Your pictures seem to capture that essence that no matter how we try to freeze life it continues to move forward….”
It is gratifying when a collector writes me words that affirm I am achieving my desired visual impact.
One of my newest images — Snow Cap — suggests this same kind of “subtle dynamic” as well. The Chickadee here is almost vibrating with energy it feels. These are the types of images that don’t stand still in our minds but relay a sense that the bird is alive in our presence. Having studied animal behavior my whole life from before college through the present, I know birds are a constantly moving power house. In many ways, the images I make are less about them than they are the human struggle in which we all engage. Without projecting our own feelings of empathy onto the bird, we would not feel the way we do about such images.
This image is available as a Limited Edition giclee print for $54. from my website – Here
I am in the unusual position of writing a blog entry in late February with the windows open and still being slightly warm in my studio. It reached the mid 70’s today in north central PA. But it is still winter and the visual stimuli that excite me about winter are still forefront of my mind. It wasn’t that long ago that I made this image even though the temperatures suggest it should have been months ago.
I’ve always enjoyed the visual aesthetics of patterns in nature. I work with them not strictly out of a sense of design but because shapes convey emotions. The same way that human posture conveys feelings, so do the curves, lines, and geometries that are all around us. In some ice forms, those curves, lines, and shapes can be very complex. As an artist I am working to compose an image that expresses movement, joyfulness, tension, harmony.
This image was made along the Susquehanna River in Pennsylvania. Using a Nikon D810 and an quite old 28-105mm Nikkor lens in macro mode, I isolated a section of ice and grasses frozen into a geometry that I found quite stirring. A small aperture created the necessary depth of field. This depth had to balanced with a sufficient shutter speed to hand hold the camera during the exposure. Because of where I chose to compose this image, using a tripod was not practical.
I had a very enjoyable weekend in New York City exploring Chelsea galleries and visiting MOMA for the first time. A very action packed few days, I put over 20 miles on my sneakers walking from Chelsea to MOMA, and from Chelsea through Soho to Little Italy. My partner, fiber artist Linda Doucette, and I took in a variety of gallery exhibits in Chelsea and a couple of floors of the MOMA. I experienced my first Rothko in person, and this impressive Barnett Newman painting above. Abstract Expressionism is still a genre that I am working to fully appreciate, this trip certainly aided in that goal. A much more extended visit is needed I know.
It’s important for artists to get away from the studio and see what’s happening in the art world outside one’s normal sphere. The Chelsea gallery spaces were as impressive as the artwork. Big, white-walled venues where individual works were displayed in stark light, by themselves, not competing for anyone’s attention.
MOMA was packed on the Saturday we visited and that actually made me feel good. The diversity of the demographic of the visitors made me feel good too; lots of young people were among the throngs.
It was an inspiring few days and had me anxious to get back to my studio to start working on new prints and consider the making of new images.
Driving back from a show in Virginia last month, we passed by a section of the Susquehanna River in Pennsylvania. It was snowing which made the scene along the river appear to be in a fog. The snow obscured the details of distant hills, and generally gave a soft feeling to the landscape. I made some mental notes about returning under similar conditions with a qualified camera.
After a few more miles I couldn’t stand it any longer and pulled over the first chance I got. I always bring a camera with me to shows in order to make new booth images for future show submissions, and to do some PR images for web use. So I got out of the van with that “show” camera in hand and figured I would do what I could. The camera is an Olympus Stylus 1, a small sensor camera with a very good lens and full manual control capability. I am a strong believer that strong images are made by artists not cameras, so I worked to create an image that conveyed the feelings I had looking out over the river.
I like the feeling of dimension in this piece. My eye travels first to the island on the left then to the distant island on the right, then toward the middle island and the distant hill. I converted the image to black and white as color was not relevant to my visualization, and added a subtle sepia toning. I think the image has a rather timeless quality to it and am quite happy with it. My 11×14 test print is very pleasing and so this image is available on my website HERE.