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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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On Exhibit

1/23/2020

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Picture
Two exhibits with opening receptions both this weekend. Look closely and find something new in each …

In both cases, a work is exhibited not in metal, my preferred method, but in simple, framed ink jet. This will henceforth happen more often; I’m making a concession on several fronts.

First, I can’t make metal prints myself. Farming production out requires lead time. In the case of the Columbia exhibit, I had a matter of hours from the time I determined to submit a particular work to the time it had to be there. A high-quality photo ink jet printer simply means I can respond faster to the marketplace.

Second, the kind of metal work I prefer takes a great deal more cash, both on my end and the consumer’s. More than once friends have lamented that they just can’t afford the metal prints I’ve offered. And, of course, if they don’t sell after multiple viewings, I’m stuck with eating the costs of both the print and the frame it’s attached to (they’re effectively welded together). The work exhibiting in Jefferson City, ‘Wanderers’, I’d previously submitted as a framed 5x7 metal print that’s actually a Christmas gift for somebody who consented to allow me to exhibit it first. There is more capital invested in that small work than in the 11x14, matted print in its 16x20 inch wood frame that’s on exhibit now. Had that size work been submitted in metal I’d be asking at least three times as much (and it’s been suggested I’m not asking enough for the ink jet print as it is). If it doesn’t sell, I can still reuse the frame.

​I’m not abandoning metal – I will still use it when I want to really make a splash, and I will continue to recommend to buyers that they order work in metal. This is an expansion into new markets. Sure, let’s call it that!
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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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