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Curtis Hendricks

DamnPhotoArtist

Photo Art* & Small Literature**
* Computer-based art that uses a photograph as a base
** Short Prose

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Exposure

8/31/2019

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I find it curious that the 1x1 scale seems less bound to the Rule Of Thirds than the more standard 2x3 scale. If anything, the 1x1 scale seems to draw into dead center, exactly the antithesis of the Rule of Thirds. Today’s work uses the same subject (although a different bloom) as my August 29 post, but changes the scale, and repositions the focal point from just right of center to (mostly) center. Stylistically they are virtually identical. But visually I have to agree that the previous 2x3 scale is more interesting. In each case, the eye goes straight to the bright red of the bloom. But in the 2x3 work, the eye has more to occupy it; there is greater context to the focal point and its environment. It feels more at home.

The 1x1 scale has become popular in social media for exactly the reason that there is no context – attention goes straight to the focal point. It is not indented as a visual experience, it is intended as a visual message. It is concerned less with art than with communication.

Perhaps context is what separates the two. Whereas communication moves in a straight line, art moves in a circle, or perhaps a wave, and in doing so broadens the message into a dialogue. The contrast of the two begs consideration of where a given work is exhibited publicly and the intent of the exhibitor in displaying it. Are they communicating or are they exposing? Or is an exposition simply another form of communication?

* * *

Did I just correlate the title of a work to the ramblings I post to go along with it? An accident, I assure you – I’ll try not to let it happen again!

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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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