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Curtis Hendricks
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Leaving Home

4/26/2019

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Among the wisest outlooks ever revealed to me is, “In order to see truth, you must give up everything you love and everything you hate”. Wise indeed because we often base perceptions and actions on one or the other, which is why we’re frequently wrong and also why we frequently don’t know we’re wrong. It’s why our politics at present are so catatonic as so many believe ideologically without regard to common sense or human decency. Fair disclosure: I’m among the first to do that.

But this is an art blog, not a political one, so before devolving into histrionics we turn our attention to the subject of intention. When I’m functioning under the above outlook I will open a capture because it interests me in any number of possible ways, without an intention for where it wants to go. Then I will start throwing things at it and see what works. Let the work become what it wants to become – don’t force the question. When I’m NOT functioning under the above outlook I will open a capture with an intent of what I want to do with it, and nine times out of ten I’m wrong. Generally I’ve had the good sense, if the techniques I’ve employed aren’t working, to back off and look to see what does work. I’ve demonstrated that my genre of Abstract Realism can include wide variations, but Noir stands apart.

​I’ve stated I believe noir or black & white photo art is just another form of abstract, and while I believe that I also accept that noir strikes a much more traditional chord. On occasion, I will try to develop a work into both a color abstract and a noir version in parallel, and while sometimes that works usually it doesn’t. The two require divergent approaches. There is a point where I may have to accept that a work I might have conceptualized in vibrant color is simply looks better in noir, and vice versa. The more tightly I hold onto a notion I love, or reject something I hate, the more likely I am to screw up. I have artistic sense in lieu of political or interpersonal talent.

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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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