Posted on August 28th, 2010 in Art & Theory | Leave A Comment
It’s almost September! Let’s start with the most obvious change; the weather. The weather here has taken a turn for the cool. We must be entering Autumn (fall and winter are very mild here). Highs are 16-18 degrees Celsius (60s F) and lows are 8-10 degrees Celsius (40s F). It’s nice, I like it. It’s still raining a lot, but then again, when isn’t it raining here?
We’re thinking a lot about the big change coming for us and have our eyes and minds set on the northwest. I think that’s where we belong -but who knows? Right now, it looks like we should be leaving Europe around the first of the year. However, I always say everything, and I mean everything, is subject to change.
The 39-89 Project & Exhibition: Generating Ideas
I can’t really work on the Wet Collodion part of my project here (I can research and write but I can’t make photographs for it), so I’m experimenting with some paper negatives and setting up to do some Daguerreotype work. I’ve got the Daguerreotype stuff ready to go, but that will have to wait until I’m back in the States. It’s way too much to do here – too much as in expensive/hassle, too much. The Calotypes on the other hand, are very doable here.
My goal is to setup (individual studio/darkroom space) for all three processes in the States; I call it “The 39-89 Project: The First 50 Years of Photography”. 1839 – 1889, the first fifty years of photography; Daguerreotypes, Calotypes and Wet Plate Collodion. Each process has its own aesthetic and special place in history; I’ll offer workshops in each process when I return to America.
I want to write a piece at some point about why Collodion is so popular today and why the other two processes will never gain that kind of popularity. It’s written in history, however, I want to write a contemporary piece about it. I’ve found some interesting correlations to the digital movement and would like to share those ideas in an essay.
My exhibition in 2012 (in Paris at Centre Iris) will be large Wet Plate Collodion pieces, but I’m going to do an ancillary project (technical and historical) about this period in the history of photography. I’ll include Calotypes and Daguerreotypes. It will give context to the main exhibit and it will be educational and interesting (I hope). And, it will be relevant to anyone interested in photography today (that’s kind of the point, yes?). In a way, you could say I’m doing the technical and academic work while I wait to return to the States. This “break” has been a great time to generate ideas and experiment with some things. I needed this.
Across The Pond… And Back Again
We made a trip to the States this month and really enjoyed it. We didn’t enjoy leaving our daughter, Summer, behind (for college), but we enjoyed seeing our family. It was good to see everyone and we’re really happy for Summer. She’s all settled in at Weber State University, my Alma mater, and is doing great. Europe will always be a part of us and we will return often, but I’m ready to go home.
Coming Up: Daguerreotypes & Wet Plate Collodion Performative Lecture
We’ll be going to Belgium for some Daguerreotype work the first weekend in September and then the second week, we’ll be in Dresden for a Wet Plate Collodion Performative Lecture at the City Museum. I’ll be doing some commissioned portrait work there, too.
Posted on August 9th, 2010 in Art & Theory | Leave A Comment
I’ve been experimenting with different concepts in the form of props. Every time I do this, I find myself going back to the beginning and photographing people - particularly faces – raw and pure. That’s all I’m interested in.
In the end, what I find most interesting is “less”. Less as in fewer props, fewer distractions. I’m not very good at creating an atmosphere anyway. What I can do is show the depth of a person and sometimes, I can reveal something interesting in their face or spirit.
I enjoy this the most but I question if it’s because I’m “comfortable” and I’m getting lazy or if it’s still valid to work what you feel most strongly about decade after decade. For now, I’ll continue doing what drives me; the human face.
Posted on July 31st, 2010 in Europe | Leave A Comment
I’ll be in two exhibitions in August/September and then one in October/November. The first is at ArtReactor in/near Washington D.C. the advert reads:
“I am pleased to announce the opening of the Whole Plate Project exhibition. The Whole Plate Project is an exhibit centered around photographers working in the whole plate format, the original photographic format (6.5 by 8.5 inches), and its historical and contemporary resonances. The show features work by Quinn Jacobson, Diane Maher, Chris Rini, Denise Ross, David White, Heather Wetzel, Barry Schmetter and Scott Davis. Works featured include cyanotypes, wet plate, silver gelatin and platinum/palladium prints. The opening reception will be Friday, August 6, from 7-9 PM. The exhibit space will be open weekends, otherwise by appointment.
Art Reactor is a new gallery/workshop/studio space in the Hyattsville arts corridor, located at 5614 Baltimore Avenue, Hyattsville, Maryland. For more information about the space, go to http://artreactor.org”
I’ve sent this triptych over for the show:
The second show is at LightBox Photographic Gallery. It’s a show of “alternative” work and processes. I have one piece in it:
“Judasbaum”
And one more exhibition at the same gallery, Lightbox Photographic, called, “The 2nd Annual Spooky Show” (October/November). They asked for these pieces:
“Jewish DNA”
“The Monster’s Suicide”
“German Man With An Axe”
With that, it will close out my 2010 exhibition list. 2011 will be a new year, new work and a new exhibitions!
Posted on June 21st, 2010 in Europe | Leave A Comment
It seems I’ve closed one chapter of my life and am ready for the next one.
As I look back over the last year (2009/2010), I see what I’ve done and I’m amazed and incredibly satisfied. Having these kinds of opportunities (Paris exhibition, Archer Project, etc.) is a rare and wonderful thing.
Henry David Thoreau said, "The mass of men lead lives of quiet desperation". For the most part, I would agree with that. They’re desperate because they are clueless about their purpose. The trick is to find your passion and pursue it with everything you have. Take risks, push your boundaries, and never quit. Passion is what we need more of - and I don’t mean passion as in fundamental religions or passions that hurt people. I’m talking about a personal passion - it’s always a positive thing, an asset to society, not a liability. Finding out why you are here and what you’re supposed to be doing with your life is what we need to be asking ourselves. For the past 10 or 15 years, maybe more, I’ve been preoccupied with this idea and have done my best to be honest in its pursuit.
How do you define success? Happiness? Satisfaction? Is it relative? I’m not sure. Regardless of the definition, at this moment in my life I would have to mark 9/10 in all of the categories. I feel accomplished, appreciated and am very happy. Over the last few years in Europe, I’ve met some of the most kind and wonderful people in the world. Every color, nationality, race and religion - all beautiful, interesting people that helped me get to this point. I can’t thank them enough for the difference they’ve made in my life.
I’ve talked a lot about stepping out of the spotlight. I’m beginning that process now. Some of it will be a little bit sad for me. I’ll miss doing some of the things that I’ve been doing for a long time. However, it’s time to move on and experience the next chapter/adventure of my life. I know it’s time.
My exhibition in Paris (Centre Iris) just ended. It was successful beyond words. I’m eternally grateful and thankful for Pierre, Olivier, Benoît, William, Patrick, Bruno, and all of the students in my workshops; almost thirty of you! I would also like to thank all of the sitters that came for portraits. I ended up making almost 175 portraits of Parisians over the last few months. Talk about a body of work! I heard some of the kindest comments and had the honor of making portraits of some very important people in the world of photography. Merci beacoup! It was my honor and pleasure. And finally, Jeanne and Summer, I love you! What an adventure! I could have never, ever done this without you! Hugs, kisses, and someday we’ll be having some more Chinese ravioli and Japanese Sushi in Paris!
There are some wonderful things ahead for me (art/photographically). I’m looking forward to sharing them when the time is right. Summer will be starting her studies in August and we (Jeanne and I) may have some big changes ahead, too. We’ll see. For right now, let’s say the operative word is: CHANGE. Change is good. Change presents opportunity. Don’t fear change.
One more thing; I wanted to share some images I’m sending to Washington D.C. for an exhibition. This is Benoît, a Parisian artist and filmmaker. I call this, "Three Portraits in Paris: Chopin’s Left Hand". You get it, I don’t need to explain it. However, the Parisian model with black eyes may be a different story…
"Three Portraits in Paris: Chopin’s Left Hand", Triptych - Whole Plate Black Glass Ambrotypes
"Parisian Model With Black Eyes", - Whole Plate Black Glass Ambrotype
This is Gwen, she was the sweetest lady you could meet. I made two plates of her, I kept this one.
If you would like to see a small (very small – 12 images) sample of the portraits I made in Paris, you can go here. Please forgive the low quality of the images, they were “snapped” with my small digital point and shoot. There are about 150 I never got snaps of!
