I surveyed this group with the question, “What is the relationship of a photograph to your work?”
The artists represented in this exhibit all use photographs in the creation of their works. None of them see duplication of a photo as a goal, but as a starting point, a sketch, a reference, a layout tool, a moment in time, a part of a storyboard etc., though the relationship between artist and photograph is unique in each case.
Any artist who works in a technically tight discipline is capable of creating imagery that can be mistaken at a glance for photographs. When a viewer comments “Wow! That looks like a photo to me!” the intent is usually a positive one, complimenting the artist on their technical skills. Several of the artists here expressed that they are happy to accept that enthusiasm as a compliment, and hope that the initial engagement leads to a deeper connection to the viewer’s relationship with the work, at times reaching an awareness of the intent of the artist or of feeling a personal connection to the art.
I could delve into the use of photography as a tool by artists, the long history of layout aids, and about whether use of a camera is cheating or lazy and the increasing role of photo manipulation tools like Photoshop as a key part of an artist’s process. I could talk about the rise of AI in making artworks, leveraging the millions of images that live on the Internet and keying in phrases to compose works. But these are topics that others have covered in great depth, or in the case of AI created art, a topic of emerging interest needing more time to evaluate. I am leaving all that to others, my intent with this exhibit is focused on how these seven artists view their relationships with photography, and value their own processes. And, in the end, I will comment a bit about my own relationship with photographs in my work.
Jan Anders Nelson
October 14, 2022
Gig Harbor, Washington
ELIZABETH BARDEN
Elizabeth Barden is an Australian artist focused firmly on figurative art and the narrative. In her words, “Through my paintings I can tell visual stories of people, to highlight uniqueness and strengths as we seek ways to understand ourselves, and our communities.”
“I am attracted to the strength of personality I see in Elizabeth’s portraits, they transcend technical transcription of the topography of faces and moments.
JAYAJa-yah/ proper noun–derived from Sanskrit, meaning Victory. ISMizm–noun-a distinctive practice system, or philosophy, typically a political ideology oran artistic movement.
Jaya Suartika is an Adelaide based artist. My subject’s skin is almost entirely covered in tattoos, only his face is devoid of ink. Jaya says initially he chose to get tattoos because of the punk side of it, anti-establishment. He was in the punk scene and it was a kind of ‘fuck you’ to the norm. His attitude has changed now, and his inked skin has evolved into aesthetic recognition and personalized ornaments.
If I have to wear a label, it is 'Contemporary Figurative Artist', and my work inhabits the genre of Realism. I regard myself as a storyteller.
I am an Australian artist, living in the beautiful Cairns, Far North Queensland.
I’m often painting people who live far away. Although I always travel to have live sittings, it essential for me to take photos as on-going reference to use in my studio.
If another artist had the opportunity to paint from my reference photos, I can absolutely assert that their result would be greatly different to mine. I do not rely upon a single image, and each artist brings their own vision to their work. My reference photos also play a vital role in permitting me to intimately examine certain elements, without compromising my comfort or that of my sitter. Portraying another human is a somewhat voyeuristic undertaking, and that is accompanied by a trust and responsibility.
I am not a hyperrealist. In representing my subject, I curate the human qualities that I wish to bring to the fore, and I employ various art and design principles accordingly. I hope when I paint someone I can inject a feeling that goes beyond skill or technique, beyond outward appearance to what lies within. I seek to learn from observation, to represent in visual simplicity an emotional complexity - a hint of the inner self in a sincere and sensitive portrayal. I seek to celebrate identity.
There are viewers who believe they are awarding you a supreme compliment by saying ‘it looks just like a photograph’. I understand they are taking the time to express an appreciation, perhaps focusing only on the skill, and I accept the honest sentiment.
My artist heart beats faster when a viewer grasps the deeper meanings and complex emotions hidden in plain sight, and they respond in a way that shows they understand, truly understand the subtleties. My work is never aspiring to mimic a photograph, my paintings are layers and layers of brushstrokes intentionally placed to build a sense of the time, place and person - their story and perhaps a little of mine.”
VICTOR GADINO
Victor is a classically trained artist who holds an MFA from Pratt Institute. His work spans illustrations for movie posters, album covers, posters for Broadway plays. It is this illustration background that pops for me in his painting “Taking Back the B Word”. The message conveyed in this work is quite clear with the interplay of the graffiti and the subject of the title in an expression that seems to be telling the viewer to step back, that she is in charge of her life. While it may not be politically charged by intent (I did not discuss this with Victor), the feeling it invokes in me is certainly aligned with contemporary events and how strong women are cast as bitches by men in power who fear losing their control.
“Like many artists who paint and draw realistically, I rely on photos as my main reference. But my goal is never for a painting or drawing to actually look like it’s a photograph. Unlike hyperrealists who render every hair or pore on a person’s face, I like the sense that the artist’s eye, hand and emotion played a part in the creation of the image. I’m not trying to trick the eye of someone into thinking they are looking at a photograph.
I learned years ago; when I was creating art for movie posters and using movie stills that the studios supplied; that what appears real in a photo isn’t necessarily correct or pleasing to look at. The artist's eye has to pick and choose elements that fit their aesthetic goal.
My process is this: I research an idea, scribble a sketch and make notes, find or hire a model and have a photoshoot, manipulate the photos in photoshop (a great deal) and create a digital image that matches the vision in my head. The finished image may look photographic but it doesn't exist except on my computer. That is what I then use as my reference . Then when I’m drawing or painting I allow brush strokes or pencil lines to be visible so that the trained eye knows it’s not photograph.”
MARIAH KAMINSKY
A graduate of Ball State University’s Design/Technical Theater program, Mariah’s work as a scenic artist at playhouses in Indiana and Maine developed her skill for artistic detail. This training is evident to me in the dramatic poses in her art, that speak to me of strong emotion in the artist about her subjects. While she says she is focused on joy or simple pleasures in life, and her subjects reflections of “positivity, optimism and resilience; the themes that she finds the most urgency to highlight in today’s turbulent society”, in “Her Resolve” there is a more pensive moment depicted. I asked Mariah about this work and its meaning for her.
“She represents a quiet resolve in myself... I was quite depressed & feeling very stuck when I began this series. The energy of this painting and the act of painting it did indeed help me out of my dark space.”
I asked Mariah, if a viewer comments "it looks like a photo!", are you satisfied with that level of engagement?
“Honestly, I would rather they say, "It looks so real!" But I think maybe most people believe they are one in the same.
I use photographs to capture the specific pose or expression that I am looking for in the model. I then use those images as reference for the painting. I design the painting entirely in Photoshop and then have that image on a screen beside the painting while I work. I do try to be as photorealistic as possible while keeping a "painted" quality to the final piece.”
GWEN MANFRIN
It was only when she Closed her Eyes, that she Could See the Stars, 2022
Graphite on paper
24 × 18 in | 61 × 45.7 cm
Graduating from the University of California, Los Angeles with a B.A. in Fine Art, Gwen has a focus on what she refers to as both sensory and metaphoric, saying “For me, the figure provokes an immediate response, a subliminal messaging through body language and attitude.” It is her observation of people as they move through their lives that teases out these moments that reveal an inner sense. In “It was only when she closed her eyes that she could see the stars” I found myself attracted to the possibility of a young person who needs to close out the external noise and pressures of her life in order to find her dreams. It is a feeling that is familiar to me.
“I am inspired by emotion. This particular piece gave me the opportunity to explore a very passive expression. The security of her placing her hands on each cheek giving her comfort in the moment. And even with closed eyes, I could feel a strong emotion. One that says, “ I am released to see so much in this moment, the forever starry skies, the peace of my heart, the serenity of my life. My gaze sees the stars and the endless possibilities of my dreams and wishes.”
The gentleness of her hair and satin dress , her quiet pose all make room for this quiet emotion. I felt peace during the creation of this work and still do when I look at it.
I use photography in a few ways. I often shoot my own subjects, while in conversation with me.
This necessitates me getting to know my model so that I can recognize a true emotion. (Thank goodness for digital!, I can take a lot of images). Then i spend time with the images and the perfect expression/body language will become readily apparent.
I did a selfie series, recently. I am not fond of selfies and was amazed when I saw a person spending, all by herself, taking what must have been 500 shots of herself,(and while standing in a beautiful environment). All that mattered to her was getting that perfect shots to post…..when I started digging into the internet, I would find 100 of pics of the same person. So, it was like having a model to shoot, except my perception of this person was really the sitter’s own perception. That was interesting and enlightening.
So now, I use a combination of the two. I sometimes take my own images and I sometimes search for an image and try to find more of that same person , to help me understand their motivation. The final artwork can be a combination of many images.
Since I am looking for a chance encounter, the use of photography helps me to capture that moment. If the model were sitting for me to draw or paint, I would lose the spontaneity of a quickly glimpsed moment.”
LISA RICKARD
Focused on the nude, Lisa is classically trained, earning her BFA in Graphic Design from the Milwaukee Institute of Art & Design and studied drawing and painting at Temple University Tyler School of Art. Her time as a dancer and dance instructor has strengthened her insights into the power of the human form and feels like it guides her work creating what she refers to as a series of allegories in her paintings.
In “Callisto”, I am attracted to her use of chiaroscuro to create a dramatic scene depicting an individual in quiet repose. The lighting is quite striking as it reveals the subject, the composition reminiscent of thinking “mise-en-scène” from my days in theatre.
“Callisto is the second painting in a series of allegorical figures about three stages of life: youth, adolescence and adulthood. Callisto represents the adventurous adolescent reflecting the most fascinating moon with the same name. Callisto is the only one of Jupiter’s 79 moons that scientists believe may have an underground ocean. And if it does, Callisto may have a chance at supporting life.I am always thinking about finding and revealing on paper or canvas the beautiful stories hidden in the simple gestures made by the nude human form.
As a nude allegorical figure painter, I am inspired by the gestures of the nude human form for creating timeless and universal stories. Having been a dancer, dance teacher and drawn/painted from live nude artist models that were dancers, I am inspired by the beautiful design of the human body. I develop my ideas for paintings and now use photography as a tool to help me interpret the mental picture that I see in my imagination. The figure always represents an allegorical story in my paintings - something as simple as adolescence to more complicated stories such as the melding together of opposite states of mind. The photograph reminds me of how light flows over human form in real life. I think about the light flow while I’m painting with photographic reference material and how the hue, value and chroma of my paint swatches from my pre-mixed color strings on my palette will be applied to the linen surface to visually create a feeling of three dimensional form to ultimately illustrate an inspirational allegorical concept represented by the figure and any additional elements in my composition.”
DAGGI WALLACE
Born and raised in Berlin, Germany, currently living near Los Angeles, CA, Daggi is a self-taught painter specializing in contemporary figurative realism and portraiture. I was initially attracted to Daggi’s use of pastel and charcoal as primary painting mediums, and thinking of the works as paintings. My own work with these tools felt like drawings to me, the differences in attitude being an area to think about more.
I found the two paintings “Joshua” and “Pamela” from Daggi’s series “We All Bleed Red” to be important as a set, a diptych of expression that is just a part of the larger series of 16 portraits in the series. Daggi invited me to look at her notes about each subject to check in with my own initial reactions to them and see where I landed compared to the stories of the individuals. Putting my own perspectives and biases on the line is a powerful force to confront honestly.
“Joshua is a devoted single dad of a toddler son living in Wyoming. Most of his many tattoos are inspired by the world of Disney.
Born and raised in Sacramento, CA to Chinese immigrant parents, Pamela is a former runway and print model for clients ranging from Target to Tiffany and everywhere in between (IMagnin, Neiman Marcus, Saks Fifth Ave, Oscar De La Renta, Givenchy, Donna Karen, David Hayes, Giorgio Armani, Chanel to name a few.) She was also a TV and theater actress and after earning her Master of Fine Arts’ Degree from the Art Center College of Design in Pasadena Pamela is now an award winning contemporary painter blending Asian historical graphic subjects with abstract art.”
For me photography is a tool as well as inspiration to create my images. While I view drawing and painting from life as a necessary practice to hone my skills, practice is the main word there because I don't think I have ever framed and displayed a piece that was done from life. They simply don't meet my own standards of the detail and realism I like to achieve in my work. Photography gives me the gift of time and space: enough time to contemplate the poses, lighting and story I want to tell through them and enough space away from the model where I can focus completely on the painting process and not worry about the model's comfort level. By nature I'm an introvert even though I have learned to hide it well, an observer of people who has not found a way to interact with my subjects, talk to them, tune into their moods and form a connection with them while at the same time focusing on the actual act of drawing or painting.
I get nervous before a photo shoot, mainly because I worry about making my model feel comfortable in front of the camera (many are not professional models), something I struggle with myself. But usually once we get started the creative collaboration between us begins to flow and we have a blast. Also, I prefer capturing emotional moments in my work, sometimes intense and fleeting ones that are just not possible to capture during a live sitting.
After the shoot I am then able to take all the time I want perusing the resulting photos and choosing which ones will end up as paintings. I absolutely love going through hundreds of pictures, noticing which ones immediately give me that physical reaction, the goose bumps, the butterflies, the hair standing up. Those are the ones that get me excited to go into the studio and start planning the resulting paintings. Sometimes I go through photos again months or even years later and it's always interesting how my reaction may have changed by then. The ones that sparked an initial response may now leave me cold while others may move to the forefront of possible new work and could even result in new ideas that were not part of the original photo session.
Most importantly, having the solitude and time to view all of the photos for as long as I want creates space in my mind to listen to the muse's direction, how I want to interpret a given photo, what things I might add to it or leave off, what color scheme I want to employ. Often, titles present themselves very quickly, too, but none of this works for me if I'm still in the room with the model worrying about whether they are hot or cold, bored or tired, feeling like I have to make conversation which would then make it impossible for me to hear that inner voice of intuition.
The quiet detachment that photography affords me is vital to my working process of connecting to my thoughts and intentions without any outside distractions. Often, the photo shoot and subsequent viewing and planning take much longer than the actual painting process!
Once I have tuned into my ideas and plans I can then take my time executing them to the best of my ability no matter how long it may take. The technical aspects are made easier because the light remains constant, I can zoom in on details, change things such as composition, background, texture, even color and contrast to some extent, all without needing another sitting with the model. I can even play around with using the same reference pics with a variety of styles, techniques and materials resulting in very different images. This is vital for my artistic growth as I enjoy experimenting marrying realism with abstract components. Photography as reference is the best tool for me and my personality to achieve my objectives.
On another very different note, working from photographs also allows me to work with commission clients or models who are not in my area or are no longer living (I have done quite a few commissioned posthumous portraits). While I find this difficult and prefer taking the reference photos myself so I can meet the person and get a better understanding of their personality, body language and coloring it is nonetheless a useful tool that allows for more options.”
DOUG WEBB
Doug, who considers himself a “classic, romantic surrealist” emigrated from Istanbul, Turkey at a young age, to California. Self-taught, Doug has a special relationship with the work of Rene Magritte and references that interest frequently in his subject matter through the use of what he refers to as “the recognition of opposites” and of contradictory scale of elements placed in the same composition. I find his works to be fun and introspective with strong feelings of satire and irony as well as political or cultural commentary, at times about the duality of the pursuit of happiness while living in the rat race of conformity. When I first encountered one of Doug’s works in person, I was a bit confounded by the excellent craftmanship of his art, the work being virtually inscrutable in process and asked him about how he achieves the extreme realism of the subject matter, a bit of irony in itself when looking at the surreal compositions he creates. His work is in acrylic, composed of many layers of glazing over an underpainting. And, while it is easy to be captivated by that technical skill, I am drawn to the metaphors he creates, such as the story he tells in “Moving On” of a boy growing up and leaving youth behind. There is a familiar emotion for me in the imagery that rings true.
“This painting depicts a young boy saying goodbye to his faithful companion/Teddy Bear, as he begins his transition towards adulthood. It was inspired by New Testament Bible scripture, 1 Corinthians 13:11, which reads “When I was a child, I thought like a child, I reasoned like a child. When I became a man, I put the ways of childhood behind me”.
The photographic reference is vital to drawing the viewer in. It gives me all of the obsessive details I need to capture your attention and then hopefully the viewer will be touched by the message. The photo is the launching pad but not the destination. That’s when the surreal kicks in.
JAN ANDERS NELSON
Jan Anders Nelson | Kodachrome | 35cmx35cm, oil on canvas 2020 | Permanent collection of the Coupelouzos Family Art Museum in Athens
In “Kodachrome”, done in 2020, I took an introspective leap back in time to the mid-70s when I was almost exclusively using slide film. The image is of the ubiquitous Kodachrome film packaging, a piece of litter I found next to my parking space around 1975, the irony of using that same film to record the moment not lost of me then or now. While slide film is a thing of the past, and “Kodachrome” mostly remembered as a classic rock song, the exploration of the image grew out of my finally digitizing a fairly large collection of my slides I had been carrying around for decades. That act forced me to look at them and started an internal dialog with that young artist from the 70s as if going back in a time machine.
I’ve always used my camera as my field notebook, a quick way to capture a moment in my life. As I turned toward studio art from working in the theatre, those photographs became references both of time and place and compositional aides as I created my layouts. Initially, I worked freehand, but found that use of a grid I created from a clear piece of acrylic gave me greater ability to focus on small areas within the reference. The next step was to use an overhead projector as a method to quickly layout onto paper or canvas. That led me to use of a slide projector (the subject of “Kodachrome”) and today a video projector. The photographs themselves required work in the darkroom to get exposures dialed in, replaced today by Photoshop where I find myself guilty of “pixel peaking” when digging for deeper understanding of specific aspects of the work I am creating, using some of the features to adjust the image somewhat to express the memory of that moment from my perspective.
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