Douglas Vincent works to convey fleeting moments that resonate as metaphors for guiding his life — subtlety, simplicity, the sublime. The canvas of his inspiration is the American West, its brush strokes of wilderness and agriculture. He values intimacy of place, returning frequently to locations where time and communion have deepened his understanding of both place and self.
Douglas has disciplined himself to explore without a camera. The ability to see photographs is a mysterious balance of curiosity, receptivity, and experience. The acuteness of his receptivity, a discipline of letting go, can often be elusive and frustrating. The process is a meditation, a "non-effort" in becoming fully present and immersed in his surroundings. When inspiration is found, it necessitates careful consideration of subject and light. Returning, under optimal conditions, to make the intended photograph can take minutes, a day, sometimes years. Or not at all. While intended photographs are sometimes lost, Douglas believes this approach enables him to create intimate meditative photographs that evoke both a sense and transcendence of place and subject.
Architecture and Abstraction explores architectural lines, symmetry, and textures. The images are primarily black and white. Some, however, have regions of red to produce an intriguing and striking black/white/red scheme, similar to that found in aposematism, i.e., a warning coloration used by some living species. Many images feature symmetry. In asymmetrical images, some elements are encouraged to begin and end in the corners—as though a complete story is being told. At other times, the discrete shapes have dissolved into something amorphous and abstract, leaving ambiguous impressions behind.
Gary E. Karcz’s photography interest began when he was a young teenager. At that time, he took photos for his school’s yearbook and his city’s newspaper. This interest persisted through his different jobs: retail sales, construction, IT support, and an educator. He now devotes more time to photography, as an art form, primarily focusing on architecture and architectural abstractions.
Jerry Kapler’s current photography endeavors have included creating conceptual images which tell a story. He begins with his own original digital images and scans of older black and white negatives from the 1960s and 70s, which have been colorized in Photoshop. His ideas are expressed in individual images or with three to five images, which create a narrative.
When generating a new piece, Jerry’s goal is to create a surreal environment that will evoke emotion in the viewer. Even though the subject matter may contain religious or death elements, the initial underlying motivation is to see how these individual elements create a final interesting result. In essence, he enjoys putting together images that surprises both himself and the viewer. His strongest influences have been the surrealist Maggie Taylor and René Magritte as well as numerous medieval artists.