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Curtis Hendricks
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Every Time We're Together

12/10/2018

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I only began titling my work a few years ago when I began exhibiting in galleries - everything, after all, can't be 'Untitled'. I came to realize that the title is really a work's final element. It gives the viewer a context for how the artist wants the work to be comprehended. Astute viewers will, of course, look past the title and may see something completely other than the artist intended, and if enough viewers do it we can pretty well conclude that the title doesn't work. Titles can always be changed. Certainly, in the digital era, photo art can also be changed, but that's a subject for another time.

Because I rarely capture photographs with people, my titles will often attempt to pull the viewer into them. Titles implying the presence of people, when in fact no one is there, can impart a sense of eeriness that happens to appeal to me. In this work, I was able to lay down a series of soothing pastels that may be inconsistent with the eeriness of the title, and that's exactly the point. Does it work? Let me know!
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    Curtis Hendricks

    All my life I have had to learn to do things differently. To see the world differently.

    Art attracted me from the beginning. Almost every home in the tiny farming village where I grew up had DaVinci’s ‘Last Supper’ on the wall. I would come across modern abstract art in magazines and be absolutely fascinated by the colors and techniques.

    But there were no artists in my village. No one understood what modern art was. Or why it was. But there was an appreciation for photography.

    I began shooting with a 1960 model Agfa rangefinder fixed-lens 35mm camera and learned to use darkroom techniques to finish my work. Graduating to a single lens reflex camera I worked primarily with Kodachrome. Digital photography opened a new world. The computer became the artboard I never had; the darkroom I could never afford. I discovered there would never be a camera or a lens that could capture what I saw in my head – that, I had to learn to create on my own.

    I use the photograph the same way a painter uses a charcoal sketch – as a starting place. I squeeze out the unseen hiding between the pixels; the angels, the demons of my own imagination.

    ​Light. Color. Darkness. Perspective. Introversion. Mystery. Love.

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