Claude Duplat has been a photographer all of his life. He owned The Black and White Photo Lab in Sacramento for twenty-five years (1979-2004). During that time, he had many photography shows. Always pushing limits with his photography, manipulating his photos with an artistic eye. After years of owning The Black and White Photo Lab and his own studio he experienced burnout and stepped away from photographic projects. However, in retirement he found his way back to his passion and love for photography.
In his 30’s (mid 1980-1990’s) he had multiple shows of his photography. During those years he also had photography in the KVIE Art Auction, the Crocker-Kingsley Art Completion and photographed art for the Crocker Art Museum. His last exhibition of his 4’x5’ black and white woven photos was 30 years ago at Chan Elliot Gallery in Sacramento, CA. Most recently, his work was exhibited at the Viewpoint Photographic Art Center and Blue Line Art. This one man show includes his current work pushing boundaries with photography and photos reflecting movement through daytime time exposures. Claude feels that he has come full circle; having created large woven photos in his darkroom, and now creating his images digitally at home in his lightroom.
Michael Radin grew up in Los Angeles. As a teenager he became interested in photography. His first teacher was the family’s professional photographer. He went on to get his Master of Fine Arts from UCDavis in the 70s and studied with Robert Frank, Bob Arneson, Wayne Thiebaud, and Harvey Himelfarb. Other influences on Michael’s work include Marcel Duchamp, Man Ray, and Moholy-Nagy.
Michael’s process is to play with the camera until some idea intrigues him enough that he embarks on a project that may last for many years. His work reflects his fascination with images that bend reality and challenge the way we have traditionally looked at things.
His work has been shown in various galleries, both nationally and internationally, and it was published in the 100th Anniversary issue of Lenswork. Robert Frank included Michael in his 1996 book Thank You.
After a many years traveling the US as a programming consultant, Michael came back to Davis and is involved in the local art community.
When Laszlo Bencze’s brother-in-law, George, was a kid in New Hampshire his father, fed up with life, would threaten the family by saying, “I’m going to Roseville.” Everyone understood Roseville, California as the end of the line, as far away as you could get. Those words always scared little George.
In 2010 Bencze moved to Roseville. He looked around and noticed that other than the giant Union Pacific rail yard, it was not much different from the little Ohio town where he had grown up. There were old buildings in the tiny downtown area around which circled neighborhoods dating from early to mid 20th century. As a teenager Bencze had photographed his hometown and exhibited the results in the local library. He decided to do the same for Roseville.
Judith Monroe believes that we are often overstressed and too busy in our modern world, numbing our senses and making us feel disconnected. She sees the natural world we live in as an amazing place full of potential for refreshment and connection. As she goes through her daily routines, Judith endeavors to focus on the natural elements she encounters, whether taking a walk through nearby woods, walking her dogs in a local park, or stopping to view an insect. She collects natural objects, takes photographs and makes artworks to surround herself with the nature that energizes her. Judith finds solace and peace and reminders of her faith in nature. She says, “A breeze is God’s caress across my face, a leaf is a symbol for growth, a butterfly is a reminder of our potential for transformation into something better than we are today.”
To David, Street Photography is like A People Safari. As he roams the streets of a city, camera at the ready, David keeps his eyes open for humorous situations, intriguing expressions, ironic moments, and touching interactions. One favorite location he’s drawn to are museums, not only for the beautiful art, but for the juxtapositions created by visitors.
It’s exciting and personally rewarding to make a photograph -- a moment in time that is unique. In the click of the shutter, a street image is captured – one that has never been seen before and will likely never be observed again.
“You cannot make street photography happen; it must present itself. I recognize and capture images that speak to me; to find interesting things in ordinary places.”
Visual & Verbal is the theme of the 11th annual juried show, TWELVE. Visual & Verbal focuses on the relationship of words to pictures, specifically to photographs. These two realms, visual and verbal, come from different portions of our brains and obviously have different roles in communication. But they are partners. The exhibit Twelve: Visual & Verbal explores that complex and stimulating partnership. The photographic subject matter and methods are wide open, limitless. However, words should accompany photographic entries in one or both of the following ways:
The image contains whole or partial letters, words or numbers in any language as a design element. These textual elements might appear in the original photograph, such as a street signs, or may be added to the image, for example, handwritten or digitally applied text.
The chemigram process is an equal mix of painting, printmaking and photography. Chemigrams are made without the use of a camera and in full light on silver-based photographic materials. And like any other medium, the chemigram's visual vocabulary is solely dependent on the innovation and imagination of the artist.
Umbilicus is a creative response to motherhood and the transformative nature of the female body. The spherical form that appears in my work references the womb, the first dark hollow we inhabit. The uterus can resist or allow potential candidates for occupancy. Once occupied, the long wait ensues, and then - the inevitable surrender. The cord will be cut, but the tether remains. There is a sense of biology in my work, where organic forms meet graphic elements. These elements allude to the pull from the outside world - the man-made world, where straight lines come from. Some images in the exhibition began as lumen prints, born in the sun. I enjoy the playfulness of objects on a wide array of papers and the reference to historic photographic methods. I shoot film and experiment quite a bit with alternative processes. I like when outcomes cannot be predicted, and control is relinquished to the light.
Mircea Ouatu-Lascar finds great joy being outdoors to photograph nature, architecture and occasionally people. Although he likes to travel, Mircea enjoys very much photographing close to home, in our local parks and around town.
Looking through the viewfinder with the lens wide open the fences disappear, the subject comes close, and for a brief fraction of time the crowds also seem to disappear leaving the impression of an intimate ‘one-on-one’ moment. Bringing the viewer into the world of animals through his lens and his heart, Mircea advocates for wildlife conservation, care and education. Perhaps a photograph can start a conversation, which leads to awareness that grows into compassion, which in turn motivates positive action.
In 2012 Liz Dahler traveled to Kenya and Tanzania, on an African safari and in 2013 to Namibia, Africa, to enable networking technology and teach elementary school teachers how technology can enhance and expand learning. Both of these experiences left lasting impressions. This collection of images provides a close up look into the Wild Animals of Africa. You are invited to take a few moments to engage with each photo and imagine the thoughts going through the minds of these beautiful creatures. Is the animal a ‘watcher’ or ‘being watched?’ Sometimes it’s not what the photographer sees, but what is seen of the photographer. What is the emotion you observe? Do you see a human-like expression? Genetic comparisons of baboons and humans identify us sharing 94% of our genes. With this photo collection, Liz’s goal is to uncover the common bond so together we can help protect endangered wildlife species.
Join us for a unique opportunity to purchase fine art photography and support Viewpoint at its annual silent auction fundraiser, Sat. Nov. 2 from 3 p.m. to 5:30 p.m. Viewing and bidding is open throughout the month of October during regular gallery hours. See all the Auction Items HERE.
Hal Wilson has a lot of respect for talented artists who take their work seriously and dedicate themselves to their art. But this guy is not serious. He is, however, dedicated
Hal’s work has been shown in galleries in his local area. He has been accepted into the California State Fair Fine Art Exhibit. Hal writes that he hoped his large print, Séance Night, which was accepted into the 2018 State Fair, would bring people “with their noses right up close to study the detail.” His images tend to elicite this type of response.
Traveling was always part of her life, and when her husband’s occupation made it possible for them to live abroad, her travel photography opportunities expanded. Armed with her camera and a ready smile, Cecilia ventured out on her own to explore her new surroundings.
Since 2007, she has lived in Republic of Georgia, Egypt, Tajikistan, Macedonia, Ukraine, Moldova, Serbia, Kyrgyzstan, and in April 2019 a short return to North Macedonia (formerly known as Macedonia or the Former Yugoslav Republic of Macedonia (FYROM)). In total, she has set foot on all continents and made photographs in more than 78 countries plus Transnistria, a “country” that no other country recognizes.
In summer 2018, I began asking friends, family and other participants to choose a few objects that they live with and that are special in some way: sentimental, frequently used or just interesting looking. I tried not to give them too much direction so that the participant had total control over the objects to be photographed. I then shot the objects in the room in which they exist. The backgrounds remain consistent in that the object is on a solid surface with a blank wall behind but they change in color and texture due to the style of the room. The photographs are put into grids based on common characteristics of the owners or the objects themselves.
Viewpoint Photographic Art Center presents its annual Members Exhibit throughout the month of July. The strength of this annual exhibit is both the artistic quality and the diversity of the images submitted.
Emergent technologies give rise to novel art forms, yet the panoramic app installed on smart-phone cameras still awaits its artists. Responding to this conspicuous neglect, Fotographic Phictions proposes a new visual practice that bridges still photography and motion pictures. Peter Sutherland calls it cubist panoramics -- if by cubist you simply mean combining multiple perspectives in a single image.
In 2012, while exploring the panoramic app on his first smart-phone camera (a Samsung-SGH), Sutherland discovered a glitch in its Android operating system, that frees photography from the dominance of Renaissance perspective and the cardinal rule of panoramics -- not to shift the camera’s viewpoint, while you sweep it through the scene to be recorded. Doing so normally aborts the algorithm’s routine, whose early Samsung/Android version divided the sweep into eight separate stills, then stitched them into a seamless panorama.
My artistic practice has often involved the pairing of photographs. I find that image juxtapositions can both disrupt and stimulate the normal process of “reading” the images to extend, clarify or otherwise modify perceived meanings. Indeed, many photographers other than myself have experimented extensively with image pairings, including Ray Metzger, Nathan Lyons, and fellow Philadelphian James Abbott, to name just a few (Note that I consciously avoid the term “diptych” for these pairings because – as one of my art historian colleagues explained - a diptych is a continuous image in two parts, rather than a pairing of distinct images.)
In creating my own pairings, I sort through thousands of images from my own archive, looking for potential matches. When a pair works for me, an overall whole is created that is a synthesis of the two images while also preserving their individual integrity. Often, a “third” image is created that may be perceived simultaneously with the two individual images.
Reece Metzger has always had an interest in photography and its role in fine art.
A visit to Western Australia in 2016 was particularly inspirational allowing him to produce a collection of photographs of man-made and natural geography. These landscapes are reflected in Australian aboriginal art: themes, designs, colors, and patterns. By manipulating selected images, Reece’s photos become abstract elements he inkjet transfers to fabric. He stitches collages adding a three-dimensional aspect. The result is the joining of landscapes influenced by aboriginal art expressed with Western perspectives.
The current series titled 16 Hours Ahead - Images of Western Australia is a collection of photo constructions reflecting his impressions of this land. Reece’s desire is to share this captured atmosphere of the other side of the world.
Reece attempts to present a mystery as to how the pieces were achieved. The viewer asks ‘How was this manufactured and with what materials?’ Each individual construction emerges slowly with the paring of desired colors and textures into an expressive and relaxing composition.
Just as the sun rises and sets each day, we engage in ritualistic practices to seek transformation. Viewing a figure in motion is to experience a duration of time invisible to the unaided eye.
Under attack, our bodies and souls seek protection and preservation. Beneath a veil of opposition, we are hidden from the light which is our life source. At times, life can seem a blur as we move across the surface of the earth. We mechanically move through the in-between spaces, trusting that the light of self-knowledge will be revealed to us. As we stay in motion, we repeat ourselves season after season, but we are never the same.
Slowly, over time, we expand to allow ourselves space for healing. Through ritual, we learn to navigate the dualities of darkness and light, stillness and movement.
The wild landscape of the Western United States is being rapidly converted to a built landscape due to suburban development. The destructive nature of these large-scale developments immediately disrupts the ecosystems. Even after these developments are completed, they continue to destroy the adjacent environment in the wild-land urban interface due to human caused wildfires, habitat fragmentation, enhancing invasive species migration, surface and groundwater pollution, soil erosion, and pesticide impacts on wildlife. Habitat Lost: Negative Effects of Suburban Sprawl on Ecosystems, is a response to this uncontrolled ecological destruction.
The work is comprised of large 20” x 30” black and white, digital, high contrast prints of the constructed environment. Furthering the dialogue of environmental loss from suburban development, small kallitype prints on fabric, encased in encaustic wax, of the lost wildlife and habitat, are hung in front of the large black and white images. This body of work relates both to western society’s desire to replace natural land and environments with contemporary construction and developments, as well as photography’s desire to replace the historical with the digital photographic prints.
“Have you ever gone to a popular place and found that the crowds wouldn’t allow you to get the image that you want to capture? Well, that has always bothered me. So I developed some proprietary actions that allow me to improve the images rapidly and with consistent results. I minimize the crowd effects and maximize the object I want to preserve. I call this technique “Photo Sketch”. My cyanotypes on display have been derived from my “Photo Sketches”.
“What is art but the visual creation of what is in ones mind - imagination? Art comes from the heart, the technique is irrelevant. I use any tool available to create my art. In this exhibit you will see my passion for mixed media using photography negatives, photograms or artist hand tools to create alternative photography. Some of the prints have ink line drawings and paint. Printmaking to me is back to my roots, the traditional way; Etchings, Monotype and Alternative Photography (as Cyanotype).”