2/13/2024 0 Comments Black and white minimalist art![]() My initial constructs of what photographic vision is to me became this veritable synthesis of integral and integrated ideas and practices, namely those of Zen principles (Japanese aesthetics), aspects of neuroscientific theories on creativity (neuroaesthetics) and my own psychological framework of motivations for artistic eclecticism, experimentation and evolution in fine art photography (“felt aesthetic”). In fact, I appreciated this analysis of my photography, so much so, that I began to explore the subjective and objective substance of my photography to piece together this atlas of metacreative imperatives to help me better explore what makes minimalistic photography so enticing to still the mind and allow for multisensory and metaphorical experiences. Over the years, several photographers have expressed to me that they believed that the thematic essence of most of my photography seems to be rooted in a minimalistic style regardless of the intricate and abstracted elements inherent in some of my approaches to art photography across subjects. “High Park, Toronto” (Infrared Study Series) We can learn from other art forms but I think we have to learn and practice Henri Cartier-Bresson’s words with abandon, in my humble opinion, to help better inform us in our photography in a self-reflective, self-inspired and even self-reinforcing way. When photography is everywhere, when everyone is a photographer, when is it fine art? It is the value of photography as an ever-evolving discipline that I think we must cherish and not the selfies, Warholian “15 minutes of fame” or the gamification of photography (likes, hearts, awards, etc.). ![]() But the achievement of such a “purity”, if such a thing may exist, may not be our ultimate destination afterall. Many writers have attempted to consider “Photography” in its own context (e.g., Susan Sontag’s polemic, “ On Photography” Roland Barthes, “ Camera Lucida”). Photography has also “informed” other art forms. After all, some of the Old Masters may have used a “camera obscura” to achieve their realistic representations and painters often use photographs to paint compositions. Perhaps it is also another way to consider the idea of “pure photography” (free of derivation from other traditional art forms like painting, drawing, etc.) embraced by the Group f/64 (Twentieth Century San Francisco photographers that included the likes of Ansel Adams) as an “informed photography” (an understanding of the full potential of this artistic and technological medium) moving towards distinction rather than starting with a state of underived “purity”. To better grasp its meaning, I have had a version of this quote on my website in the original French as a reminder to myself to always strive for something profound in what I do in my art. It is putting one’s head, one’s eye, and one’s heart on the same axis.” (The Mind’s Eye: Writings on Photography and Photographers) To take photographs means to recognize-simultaneously and within a fraction of a second-both the fact itself and the rigorous organization of visually perceived forms that give it meaning. It is at that moment that mastering an image becomes a great physical and intellectual joy. “To take photographs is to hold one’s breath when all faculties converge in the face of fleeing reality. It was also meant to further consider the striking power of Henri Cartier-Bresson’s words, translated from the French here, in a new and exciting way for me: My initial answer was meant to transform my approach to photography. It was a spontaneous almost Proustian-like alliteration of ideas at the time but I have since delved much deeper into its practical meaning as I do feel this unabated curiosity and almost spiritual connection to subjects that spark my inspiration as a photographer. When I was asked about how I would describe my overall photographic vision in a previous interview, my answer was the following: “the pursuance of an exquisite enlightenment with the practice of an insightful imagination”. In my opinion, artistic vision is much more personal and multidimensional. ![]() I, like many other photographers, do not believe in a singularity or ubiquity of vision. Many photographers have spoken about “vision” in photography throughout history in various ways. Note: All images and texts on these pages are protected by copyright and may not be used, shared or reproduced in any way for any purpose without the author’s permission.
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