View In A Room
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VIEW IN MY ROOM
VIEW IN MY ROOM
Among the greatest artistic influences in my work are abstraction and the concepts of time, memory, and the unconscious. I tend to embrace the minimal aspects of a subject while attempting to draw a strong reaction. Photographic images (primarily black and white), are the best medium for me to do this, since they document a bare bones form of objective reality I can alter and manipulate freely, acting as a bridge to the interior life, merging both in unexpected ways. At the editing stage, the first photograph sets the course for what follows. In some cases, the process ends there; it feels complete. In other instances, the image works by itself and/or in a collage, which I may also turn into a mixed media artwork. To me, this is pure visual alchemy, the sum total of the piece itself transcending its components. At times, I take the recognizability of objects to the limit, challenging the viewer’s perception. I also tend to shoot high contrast images with lots of dark areas (in some cases, I invert the images, so that dark areas are light, and light areas dark. The absence of light reversed). Negative space can sometimes reveal so much more to me than many perfectly lit scenes. I call this the "krush". It's the perfect antithesis of what so many viewers expect when looking at a photograph. In short, the dark zones give the light areas, however faint, far greater definition. For instance, in my “Cocktails” collage, applied vertical scratches just below the neon sign are to the left and right of the building, suggesting a cocktail glass. Going deeper, I explore themes of nostalgia and urban night life as sparingly as possible, graphically manipulating the images as needed, not detracting from, or overwhelming, the initial intent of each photograph. Persistence of memory: a photograph taken in the past can relate to one taken in the present, both psychologically and visually. A childhood memory, solitude, the human condition, imagining the future, an erotic impulse, geometric similarities, spatial relationships, compatibility of perspectives. This approach works extremely well for abstract compositions. PLEASE NOTE: COPYRIGHT NOTICE IS NOT ON FRONT OF PURCHASED PRINT. Photograph is printed on 0.06 inch/1.5mm deep Chromaluxe aluminum panel using the dye sublimation process. Does not require framing. Includes a metal float hanger which is recessed from the edges of the print so it appears to float away from the wall. Metal print corners are slightly rounded. Dye sublimation process is a type of computerized dye transfer printing called D2T2. Image is fused into the metal so light areas have more shimmer than a traditional paper print. Surface is a low-glare satin matte finish. Wilhelm Imaging Research tests have shown Chromaluxe metal prints can outlast black and white archival quality prints three to four times longer. All prints signed and numbered on verso. A Verisart Certificate of Authenticity is included. All Images © 2020 monokrush
New Media Print:Black & White on Aluminium
Artist Produced Limited Edition of:15
Size:16 W x 16 H x 0.1 D in
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
(It's actually spelled monokrush - one word)... When I capture an image, there is always a sense of bliss, a Eureka moment. The sheer compulsion of having to take that particular shot and not another is what drives me. It's pretty straightforward. When I finally have a chance to sit down and do my edits, I begin to see patterns emerge, connecting several images. I may also realize the significance of a particular image. To combine it with other images would only dilute its singularity in some instances.
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