I started experiments on what would become the Exposure Series
in the winter of 1993-1994. The idea was to create a painted surface
and imagery that could possibly raise the question if the work was
actually a painting or not. I was inspired by the writings of the
Minimalist artists of the 70s and I wanted to see if I could push the
painted surface beyond photorealism and into the aesthetic realm of photography.
I gradually worked towards an abstract realism with an
indicated light source. I avoided color and pared the images down to
just black and white. After a decade of experimentation I resolved
problems to finally arrive at an almost "glass-like" painted surface
which denied the textures implied in the images of the work and gave
the painting a photographic appearance.
Even with today’s
digital intervention, an inherent sense of veracity still remains in
black-and-white photography, a certain truth about a subject observed
from the world around us that has been captured at a certain moment in
time.
The paintings from the Exposure Series rest aesthetically between Photography and Painting.
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Press/Texts
