Image City never repeats its exhibitions or curatorial arrangements. So, find time to see the show while you can.
Being fond of traditional photographic process (shooting on film, developing, and making a one-of-a-kind fine art photographic print), I am astonished to discover the complexity of fine art digital photography. Thanks to one of the Guest exhibiting photographers, who by a fortunate stroke of serendipity enters the gallery while I am studying his prints, JFK graciously shares with me some of the intricacies of digital photographic process.
Not only an artist needs to master the software that allows one to ‘develop’ a photographic shot creatively, but both photographer and artist also need to figure out how ‘electronic’ colors are affected when printed onto a medium support. Layer after layer, this artist develops his version of the unseen.
JFK’s muse is a chain of events that engulfs him when he photographs his subjects or objects of affection. These recalled events are transformed into a story in his studio, where a few hundred layers later, he arrives at what you see at Image City. JFK demonstrates what happens to an image when a digital layer (that may or may not have a filter) is added or removed; amazingly, each peeled layer of that image could be a stand-alone work of art!
The two pieces I enjoy the most are JFK’s black and white portraits (mostly black palette). The images, minimalistic in their visual approach, are not only emotionally charged but also revealing. The artist’s clever matting technique makes his pieces very attractive: the portraits I admire so much are within the flow of the viewer’s gaze, juxtaposed against a mat, and have an unusually low or high off-center focal point.
There is so much more to see at the Portfolio Showcase 2011 exhibition: Gil Maker’s meditative shots, Betsy Philips’ dynamic abstracts, Dan Neuberger’s retrospective visions, and Sheridan Vincent’s brilliantly explosive color compositions – just to name a few!