Something New: Mixed Media; Photography, Painting, and Sculpting

A while ago, I decided I needed to take this work to the next level. I needed to address questions surrounding something “missing” in the work. I wrote an essay a few weeks ago about searching for words like “tactile” and “tangible,” as well as enhancing color—all in the service of decay and impermanence. I wanted to engage the work in an interdisciplinary way—deeper and more involved than simply looking at a photograph. I want to create something that asks to be touched and experienced beyond photography. My goal is to transcend photography and create a “living” piece of art that represents this land, the people that were here, and the theories I’m addressing surrounding all of it.

Colors and Textures: I’ve mimicked the colors of fall as well as the colors found in the antlers. The surface of the canvas is a reminder (in the shapes) of the antlers as well as roots or veins reaching into the earth. The colors and textures in this piece worked very well together. It is tactile, physical, and contains real objects from the land. The antlers on the canvas are the antlers (some of them) in the photograph. It’s also a reference to the Ute’s skillful tanning of buckskin (deer hides). They were known for the quality and beauty of the leather they made.

Canvas Choice (18” x 18" - 45,75 x 45,75cm): It’s simple; the canvas represents the shape of the state of Colorado. I did the same thing when I made the Ghost Dance work: 6” x 6” wet collodion negatives and prints. I just carried that concept over to this project.

Fibonacci Sequences: Living on this mountain for the past three years, I’ve become closer to nature. I go to bed when the sun sets, and I get up when it rises. I’m aware of the seasons like never before. I see plants and animals in all stages of their lives. The flow and balance of nature are both awe-inspiring and beautiful. I’m beyond grateful to have experienced this. I’ve spent a lot of time photographing flora. I can see the patterns and the consistency in them. I studied the Fibonacci sequence and became very interested in it. I’ve posted about it before. I’ve designed these mixed media pieces based on the Goldaen Ratio and Fibonacci sequences. This is the only time I’m going to point out the details in a piece. The photograph has 10 antler tips and 3 bases—that’s 13. The antlers and antler buttons surrounding the image represent the number 8. The layout is on the Golden Ratio grid. You get it.

Symbolism of Circles: The Tabeguache Ute always set up a medicine wheel, or the circle of life, at each camp when they traveled in the spring and fall. For them, it represents the continuous pattern of life and death, the paths of the sun and moon, as well as the shape of the earth and moon, among many other things. I’ve used the idea of circles as a way to recognize that and to give a sense of peering into something eternal yet impermanent—a visual paradox. The Circle of Life is a central theme of Ute life. The Ute people have a unique relationship with the land, plants, and all things living. The Circle of Life represents the unique relationship in its shape, colors, and reference to the number four, which represents ideas and qualities for the existence of life.

I found this in a presentation to Colorado 4th graders. The People of the early Ute Tribes lived a life in harmony with nature, each other, and all of life. The Circle of Life symbolizes all aspects of life. The Circle represents the Cycle of Life from birth to death for people, animals, all creatures, and plants. The early Tabegucahe Utes understood this cycle. They saw its reflection in all things. This brought them great wisdom and comfort. The Eagle is the spiritual guide of the People and of all things. Traditionally, the Eagle appears in the middle of the Circle.

The Circle is divided into four sections. In the Circle of Life, each section represents a season: spring is red, summer is yellow, fall is white, and winter is black. The Circle of Life joins together the seasonal cycles and the life cycles. Spring represents Infancy, a time of birth and newness—the time of “Spring Moon, Bear Goes Out.” Summer is Youth. This is a time of curiosity, dancing, and singing. Fall represents Adulthood, the time of manhood and womanhood. This is the time of harvesting and of change: “When Trees Turn Yellow” and “Falling Leaf Time.” Winter begins with gaining wisdom and knowledge about “Cold Weather Here.” Winter represents old age, a time to prepare for passing into the spirit world.

The Circle also symbolizes the annual journey of the People. On this journey, the People moved from their winter camp to the mountains in the spring. They followed trails known to each family group for generations. The People journeyed to each family group for generations. The People journeyed as the animals did. Following the snowmelt, they traveled up to their summer camps. In the fall, as the weather changed, the People began their journey back to their winter camps. Once again, they followed the animal migrations into lower elevations. They camped near streams, rivers, springs, and lakes. These regions provided winter shelter and warmth.

The early People carried with them an intricate knowledge of nature. They understood how to receive the rich and abundant gifts that the Earth, Sky, and Spirit provided. They also understood how to sustain these gifts. They took only what was needed. The People used the plants, animals, and earth wisely. They gave gifts in return. This knowledge was the People’s wealth.

The Circle of Life is the rich cultural and spiritual heritage of the Tabegucahe Ute. This heritage is still alive in the life cycle and seasonal cycles of today. It still is alive within the harmony of nature. It is reflected in the acknowledgement and practice of honoring and respecting all things, people, and relationships. The Circle design can be found on the back of traditionally made hand drums. These drums are important ceremonial instruments for the People today.

The idea of impermanence and decay plays a big role in my approach to this work. I've tried to develop a deeper appreciation of impermanence, specifically of my own impermanence. It’s important for me to try to make the viewer aware of their mortality through these pieces and the theories they’re based on. Everything I’ve made images of is either dead or changing in some way (entropy). The way I’m building these pieces up—the textures and colors—refers to the idea of both death and decay (impermanence) and life and living. An elevated sense of gratitude for every fleeting moment of life is very important to have. It fosters a significant recognition of the invaluable essence of human existence by observing the natural endings in everyday life, like leaves falling from trees or the decay of organic matter. This helps people connect with the concepts of impermanence and death on a smaller scale. That’s the big connection between my work and these theories.

I find myself contemplating compassion more while doing this work. Thinking about my own struggles with difference. I suppose the wonderful thing about learning about these theories (death anxiety and terror management theory) is that you have a lot of time to think about, or even meditate about, your own death and the deaths of loved ones. In turn, that allows you to come to terms, in some ways, with all of it. Moreover, I’ve found I have a heightened zest for life. A greater appreciation for the cycle of life, or, as the Tabeguache Ute would call it, the Circle of Life.

Currently working on monotypes: I’ve been working with acrylic paint and doing monotypes. I really like them; they have a lot of potential for this project. As time goes on, I’ll post some occasionally. I just wanted to share this mixed media idea I had and my thinking around it.

Physiognomy & Anthroposcopy

Thanks to my friend, Caron, for this video clip. My work is steeped in this idea of physiognomy.  Physiognomy is also sometimes referred to as anthroposcopy, though the expression was more common in the 19th century when the word originated.

Photography: Considering Context and Intention

It seems that I’m constantly returning to this theory that photography/art needs to be seen in context and that the artist needs to have some kind of intent behind the work. In fact, I would argue that the concept is more important than the images themselves (but usually includes the object in some way or the process/ritual).Jehovah Witness - Ogden, Utah 2003

This is purely opinion, and we all know what opinions are like, right? I’ve argued my position about context and intention with a lot of different people. A few people agree with my theory, however, most don’t.

Every artist can relate with the frustration of feeling like a fraud, or a fake. You might feel like the work you do is trite and clichéd – that you’re not working from an authentic place – it’s normal to feel this way occasionally if you’re serious about what you’re doing. However, most aren’t.

Some days, you might even feel like throwing in the towel; quitting and leaving all of the frustration and emotional distress behind. I’ve felt this way on more than one occasion. I try to use it as a barometer for what I’m doing and why I’m doing it. Although it’s not pleasant to go through these experiences, I think it keeps me honest – both to myself and to the viewers of my work – and that’s very important to me.

But what about people that are taking photographs and getting them exhibited, published in books, magazines or even on the web. Most have no context and certainly no intention. They’re simply random photographs made in an antiquated process or with something that’s been discontinued, or is considered “old school”. I don’t want to point to specific people or publications, but you know what I’m talking about, it’s easy to find online. The problem isn’t what’s there; the problem is what’s not there. I know I’m painting with a very broad brush here; there are a few artists that are both inspiring and impressive. However, most aren’t.

Most photographs that fit into this category are acts of randomness, an exercise in complete serendipity, or complete happenstance. Some appear as complete technical exercises, nothing more; nothing serious – nothing that the artist is actually contributing can be seen – there’s nothing wrong with that, per se. However, when it becomes a large group of photos that make no sense, or are simply copies of other people’s work, it’s a big problem. At least it is for me.

Last year, when I was in Paris, I was asked if I was worried about teaching the Wet Plate Collodion process to people and having them copy my work and my style. At the time, it struck me as an odd question, but it did resonate with me. Over the years, I see more and more images that are made in a very similar style of mine, but without any context or intention. For many years, I’ve tried to define my style and articulate my preoccupation with “the other” through photography (a very difficult thing to do). I have a long history with marginalized societies (I’m part of several), I’ve explored the questions surrounding this topic and made photographs that speak to my passion. It’s not random, it’s not a “kick” that I’m on, and it surely isn’t because the images “look cool”. It’s serious work to me and to a lot of viewers that take the time to understand the context and intention supporting it.

The only thing I would ask other artist/photographers to do is to consider context and intention in their work. Can you defend your work? Can you answer the tough questions? I try to think about my work as much as making the work. Don’t ask the viewer to figure out what you’re trying to say, that’s your job. And if you don’t know what you’re trying to say, maybe you should consider spending some time to try and find out.

“In Honour of Archer” Just Another Exhibition? I Think Not!

 

Next month, on May 1, the exhibition, “In Honour of Archer” will open in London. There will be close to thirty Frederick Scott Archer, 1813 - 1857pieces of artwork in the show. All of the work is Collodion or Collodion-based from artists all over the world working in the Collodion process. I can’t over emphasize the importance of this exhibit and event. Not only for today, moreover, for posterity.

Every once in a while, there’s an opportunity to contribute and be involved in something that will be far more important in the future than it is today. The problem is being able to recognize those opportunities and then having the chutzpah to make the sacrifices to get “some skin in the game”.

“In Honour of Archer”, is one of those opportunities that I can say with great confidence, will take its place in history. It’s bigger than all of us. It’s its own thing, like a mountain so high that it generates its own weather system. It has its own energy, we’re just trying to keep up.

The work presented in the show will have a certain gravitas, too. A provenance, if you will. In this case, the context of the work is much greater than the work itself. I don’t mean that in the pejorative, I really like the work that has been submitted, I mean that in the way that this isn’t “just another exhibition”. I mean that the photographs in this exhibition are forever connected to this event. It’s the connection that gives this purpose – that’s what makes this so important. I wonder if people get that.

A hundred years from now, no one will know or care what you or I did today. We may see what we’re doing in our daily lives as important, but no one will remember. No one will care. John Popper, from the Blues Traveler band, has a great lyric in a song called, “100 Years”. It sums up the ephemeral nature of our day-to-day existence. He says,

“Big angry man in the doorway there
Just keep on walking like I don't care
Why you giving such an evil eye
Could it be you were ignored by every passerby
And it won't mean a thing in a hundred years
No, it won't mean a thing in a hundred years”

Our death denial illusions are exposed and open for G-d and the world to see them when we talk about our achievements for future generations. However, in my opinion, this event transcends those illusions. This is one of those things that we all know is the right thing to do. So why has it taken 157 years?

I feel neither allegiance nor indebtedness to anyone except Archer when it comes to the Wet Plate Collodion process. Without Archer, and some others in the 19^th Century, Collodion would have been a shelved process, at least as far as we know it today. He’s never received the recognition or the proper acknowledgments from his country, the big photography museums or the academic establishments. They should be embarrassed and ashamed. I'm glad, however, that like people us, the Collodion Collective, were able to come together and make his commemoration what it should be.

Unfortunately, as Parker and Stone said, "Sometimes what's right isn't as important as what's profitable." In that context, this is not, “just another exhibition”.

Thank you to everyone that participated in any way – you’ve done a great thing!

Some Portraits From Paris: June 14, 2009

Jenny The Waitress - 5x7 Alumitype
      Parisian Woman 5x7 Alumitype

   Pierre - Gallery Owner, Paris

Richard, Parisian Photography Professor

Christopher by Carl Radford

Chemical Pictures - The Cover

Chemical Pictures - The Wet Plate Collodion Photography BookI'm very happy! After many iterations, the cover of my new book and DVD is finished. Sometimes, I think over-thinking can be as bad as not thinking at all. I may have over-thought the cover, at least on the first few iterations. Remember, text out of context is a pretext. I had some "pretext-ing" going on.

I'm very happy with the results of this cover (click on it to see it bigger) and of the book and DVD. It's been a project I've been working on for years. I published one other book on the process in 2006. That was mostly for my graduate work and I didn't feel like I had adequate time to include everything that I wanted to. This work includes everything you've always wanted to know about making positive Wet Plate Collodion images and even some things that you don't want to know about. I'm very proud of this piece. It's based not only on my own personal experience working in the process for a few years, but on primary literature. Over the last two years, I read and studied every 19th and 20th century manual or book on the process I could find. I was amazed and enlightened at what I found. Not only is there everything in the old manuals that you need to learn the process (technical, formulae, etc), each photographer had their own interpretation and ideas on what worked the best. Not unlike today - there were several people who called themselves "masters" of the process. However, a lot of them had glaring flaws in their techniques and methodologies - the recipes and techniques conflicted a lot. I found it very interesting and entertaining, to say the least.

A lot of people deserve credit for this book and DVD. I've asked people all over the world to be involved in it - contributing everything from a piece on artificial lighting to collaborating on this cover - it's been a great experience and I want to thank everyone that's helped me - I'm truly thankful (and Summer will thank when she's paying her tuition, too.)

The next step: I have to make some changes (after the second editing process) and wrap up the online content (.flv files) and then wait for the printer to make my books and DVDs! Oh happy day!

Welcome To Wien (Vienna), Austria

Rolls Royce in Wien!We arrived in Wien last night. It was a longer drive than expected due to a 2 hour Stau in Germany. However, we survived.

We have a nice apartment right off of Simmeringer Hauptstasse. The S-Bahn and U-Bahn are close and we explored downtown Vienna a little bit tonight. I saw where Hilter was rejected from (Academy of Art) and made me wonder how the world may have been different had they let him in here - great novel/screenplay waiting to be written. 

The workshop went very well today. One more day (tomorrow) and we'll wrap it up. The participants are motivated and off to a grand start! There are four students; Fritz, Reinhard, Stefan and Zoltan. Three are Austrian and Zoltan is from Budapest, Hungary.

Hypo versus KCN!

Remember, here in Vienna, I'm less than an hour from Bratislava, Slovokia and about 2 hours from Budapest, Hungary. I would like to take a week off and just go!

These are images from the workshop today. Showing the difference between sodium thiosulfate fix and potassium cyanide fix - amazing!

 

A sampling of the workshop plates.
 

 

Reinhard Reidinger

Photokina 2008 - Cologne, Germany

Minox Girl at Photokina 2008, Cologne, Germany
I have mixed emotions about Photokina 2008. On one hand, it's interesting and kind of fun, and on the other hand, it's disgusting and nauseating. 

Overall, it's an exercise in greed, consumption, overindulgence, etc. all of things people say that I'm (and most Americans) an expert in. Seriously, it was disturbing to be there as the economy (Wall Street) in America was tanking, not to mention the ongoing suffering and hunger throughout the world. It's just hard to reconcile all of it looking at $5,000 (USD) cameras and $10,000 (USD) printers. Mostly, it was middle-aged men drooling over phalic toys they couldn't afford. C'mon, nothing is that important! Maybe I'm just getting old and soft (I can validate the "soft", it's true).

My main bitch is that it was €21 Euros to get into the place (that's $32 U.S. dollars today). Are we paying to get into a place to see what we want to buy? We're paying people to advertise to us!! Wow!! Wrap your head around that one!

My praises: There were some pretty interesting advancements in technology. The printers were unbelievable. All of them cranking out huge (8' x 12') color digital prints (if it's big, it's important)! They called it the "fine art printing section." The underwater cameras were pretty cool too. Not that I would ever need any of this stuff, but you know, it was kind of fun to see.

Billy Cargile, my new co-worker went with me. We didn't really want too stay long. We just wanted to hit some of the highlights and head back south. It was a 3.5 hour drive back because of traffic jam (Stau) just outside of Cologne. It's always fun to wrap a day of consumption around a 4 hour traffic jam. Yummy!

I suppose it was a good excuse to get out of the studio take a long drive and bum around Cologne again (it's a great city). As a side note, Cologne (Köln) is a very progressive and art centered city. I've been to a couple of art shows in Köln that I really enjoyed. The people are great too.

Back to Photokina... am I going to Photokina 2010.. ? No - been there done that and got the Minox ad to prove it.

Billy Cargile at Photokina - September, 2008

Evolving Theory About Art

I recently started reading, "Criticizing Photographs: An Introduction to Understanding Images" by Terry Barrett. It's an excellent book, I highly recommend reading it.  I've read it once or twice in the past, but it's one of those books that seem to change everytime you read it - you always find new and relevant insight.

Anyway, when I came across Allan Sekula's quote from "Dismantling Modernism" I was stunned. It was almost like I had thought that very thing but couldn't ever get it out (in written word). This quote sums up my theory about art and my purpose for making it. It's an evolution of understanding and it changes over time.

"Suppose we regard art as a mode of human communication, as a discourse anchored in concrete social relations, rather than a mystified, vaporous and ahistorical realm of purely affective expression and experience”.
Allan Sekula, “Dismantling Modernism” (1978)

Oh, and these are my new "Q" cards:

Quinn's new cards.

When The Concept Is Bigger Than The Craft

It seems that I've been waiting forever for my portable dark box to arrive (here in Germany). It was shipped on February 5, 2008 from Rochester, New York. You wouldn't think it would take a month, but then again one of the biggest and most annoying things about living here is the APO system and the expense of commercial post (like FedEx and DHL). It's outrageous on both ends.

Quinn's darkbox

In hindsight, it's actually been a very good thing. I've been able to gather my thoughts about my approach to working through my Kristallnacht project. At first, I thought I would approach it a stand alone, no interference, straight forward (almost documentary) project.  I simply wanted to photograph the locations I have pre-selected and making 8x10 Black Glass Ambrotypes (wet plate collodion images). That’s not going to happen and, moreover, I don’t want it to happen. You see, I realize that the concept of this project is bigger than the craft of this project. It other words, the idea is much stronger than the images I would or could make of former synagogue sites. It’s a strange problem to have. It’s usually the other way around for an artist; it’s all craft and no concept. Hit a random “fine art photo” site and you’ll see what I mean.

The Mainz Synagogue

Here's my solution: I'm goign to include my portraiture work, landscape work and object work all under the umbrella of the Kristallnacht project. I’ve decided that even though these objects, people or landscape scenes, weren’t (necessarily) here, they all share a common link to either the victims or the perpetrators both in idea and the physical world. And, after all, my message is about the questions surrounding Kristallnacht and ultimately, the Holocaust.