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VIEW IN MY ROOM
VIEW IN MY ROOM
Like me, Elliot Porter was a physician and photo hobbyist until he met Edward Steichen whose encouragement led him to become one of the great nature photographers of the 20th Century. What I learned from Porter’s work was the importance of detail and the subtleties of colour. We relish autumn in this part of the world for its vibrant colours. Bright sun on the reds, greens and golds can be almost blinding in its vibrance. Yet, as Porter’s work taught me, it can be the soft colours and patterns which introduce an ethereal quality. They draw you back to look more closely, study the detail and behold an infinity of visual and emotional possibilities. These three images, Autumn 1, 2 and 3 were taken in that light. From observing patiently and quietly, almost meditating on the spot. It isn't so much the detail in this image, as the representation of the emotionality of fall; the transient colours, the rush of the season. It's not one leaf, or one tree, but the whole panoply.
Photography Print:Color on Paper
Artist Produced Limited Edition of:20
Size:21 W x 14 H x 0.1 D in
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
In February 2022 FRAMES, a European fine art photography journal, honoured me with a lengthy profile. You can access it with this link: https://readframes.com/frames-podcast-with-harvey-schipper/ I am often asked, "What is my style?" Many comment that my work is very painterly; soft colours, abstract gestures, perhaps more mood and tone than documentation. Others posit that I'm a soft documentarian, often with a wry or subtle ironic sense. I'm neither, and as I explain below, my style is one of 'resonance'. My artistic goal in presenting an image is to take you into the moment and have you linger, even come back to consider the story further. As with a materials artist who matches material to context, my goal is to match a style with the story. It is artistic eclecticism. My intent is that the image so resonate with the moment that every aspect takes you, the viewer there. Its not the big bang of first sight, though that certainly helps. Rather I hope you will be intrigued by the emerging story, and the small details that keep bringing you back. What follows is how I got there. ............................................................................. I still have memories of the ominous knock on the darkroom door of Oakwood Collegiate in Toronto at about 2:00 a.m. when the imposing school principal, William Tovell, found me there after my parents phoned the school in a panic because their son had not come home. It was the early 1960’s and I was hooked on photography. My photographic exploits became much less intensive during the university years studying engineering and medicine. I had a camera and a few lenses and would occasionally take them on trips. I didn't do any darkroom work until many years later. Nonetheless, along the way I would go to photography exhibits, read about photography and occasionally have the pleasure of conversation with camera artists such as Yusuf Karsh. I set up a home darkroom, and began to work in color and develop some expertise in the use of Cibachrome. I began to carry my camera again. My work as a cancer researcher took me around the world, and my camera was the way I told my story. Could I become so in tune with what I experienced that, in a single image, I might convey more than the ‘facts’,-the spirit, the emotion and the context of what I saw? I began to develop a style I’ve come to call ‘resonance’. From there a show and some sales followed.
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