Images flow dream-like. Bits and pieces form a cohesive vision. As I look through my photos, I always see my ideal of the human body interacting with the setting. These are locations with which mankind relates and reciprocates. Many see these as wastelands, but I see them for their history and their significance in our society. I see the sadness of the forgotten, how quickly man turns a blind eye to the past.
This pandemic has given me plenty of time to reflect on life in general. Time to wax emotionally about days gone by and their impact on our lives.
While scrutinizing my photos an old artistic dilemma popped up. Presenting images in the preciousness of framing always seemed too academic and sterile. It places a barrier between the image and the viewer. I have always strived to remove that barrier.
The last year has been spent exploring the use of encaustic, an artists wax medium. I enjoy how encaustic coats the image yet imbues a wonderful texture that unsettles the smoothness of a photograph. Therefore glass is no longer necessary.
Photographs now seem logical. Attaching prints to panels and then allowing these floating segments to interact in a global manner. The roughened texture of the wax lending a dreamlike state to the entire piece.
One creative aspect that still confounds is the titling process. Can I tell you how much I hate titling! Exploring different options I’ve landed on naming the entire series “Fractives”. The notion of fractured narratives seemed logical.
In the end, this technique has opened the up many possibilities. There is a stronger line of narration. And I believe these additional images produce a more effective composition.
