Photography, Digital on Paper
Size: 21 W x 14 H x 0.1 D in
Ships in a Tube
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Artist featured in a collection
One element of my work is painterly photographic impressionism. I try to invoke a certain mystery. I hope you are seized by an initial impression and then drawn back over and over again to see more. To come to emotional terms with a moment. Fall in northern Ontario Canada is an evocative time. One is always tempted to attempt the impossible...to somehow represent the extraordinary palate of transient colours, and the clarity of deciduous trees. And then there are unexpected magic moments...when the fog rolls in. Cool moist air over warm calm waters. We could be at the beginning of time. One client has already commissioned a large format print, one of 5 I will make available. This is a smaller, identical image so that more can share the magic.
Photography:Digital on Paper
Artist Produced Limited Edition of:20
Size:21 W x 14 H x 0.1 D in
Ready to Hang:No
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.
Artist featured by Saatchi Art in a collection
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