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Pricing Policy Bio

 

I decontextualize.  Then, I  reconstruct.

The photographer Minor White once said, “one should not only photograph things for what they are but for what else they are.”  I’ve taken this dictum a step or two further.  I don’t photograph things for what they are at all.  Instead, I photograph things entirely for what else they are.  And then: what I can make them into. 

The focus is tight, honing in on a unifying element.  It can be anything: a segment of roller coaster track, the side of a building, a pattern in a rusted surface or shattered glass, the taillights of an abandoned tow truck.  The subject as traditionally understood -- “what they are” is pushed to the background, or even cast aside entirely.  

This process requires close observation of and engagement with of my subject -- looking past the obvious.   Some of my subjects are quite beautiful -- roller coasters or skyscrapers, which have a majestic elegance.   Others less so: decaying surfaces, broken glass, old taillights.  The challenge is to find a way to look at the subject -- really look at it.  My goal is to inspire those who see my work to look more carefully at the world around them, to discover beauty in the most mundane of sights.

Once I find that unifying compositional element, I use it to create the final image.   My goal is not representational; reality is not a constraint.  Indeed, it may be a misnomer to call my subjects “subjects.”  They are raw material.

From that raw material I create my work.  In so doing, I often use some wild color.  Much -- though certainly not all -- color fine art photography exhibits a certain look and feel, a distinctive palette.  I don’t use a traditional colorphotographer’s palette.   I use color more like a painter does, letting it be rich, vibrant, and luxurious.  Why should painters have all the fun?

 

Hemispheres

 

All images ©Pete McCutchen, all rights reserved