I came to fine art photography after a career in the oncology pharmaceutical industry. Turning away from direct scientific observation, my work speaks indirectly, but with continued caring about how society’s institutions affect its members.
Working from self-assignments for extended periods, I use images to support my societal interests. With an eye toward directing the viewer’s gaze, I utilize light and shadow to create line and form, in a way that emphasizes essential elements, allowing the work to speak directly.
As an educator, my intention is to provide learners with enough fundamentals to be able to begin making images that are meaningful to them. In this process, I find it essential to emphasize images’ meanings and to place the value of tools used to make images as a secondary consideration. Absent such guidance, learners may be easily distracted from the interior work of making images that are meaningful to them, by the lure of a new lens or camera. I prefer to see learners create self-assignments that will sustain their interest.
My experience is that adult learners flourish most in environments that provide critique. Feedback is the breakfast of champions. When learners identify gaps between what they want their images to say and their mastery of the tools, it is appropriate to introduce new tools or to expand learners’ mastery of the tools they are using.
Elin Spring reviewed the opening of “Abstract (Photo) Expressionist”, and was very generous in her comments about the two bodies of work being shown at the beautiful Panopticon Gallery in the Commonwealth Hotel in Kenmore Square on Commonwealth Avenue in Boston. I would love to hear what you think if you see the exhibition.