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TWIN PEPPERS - Edition of 15 Photograph

Stu Sporn

United States

Photography, Black & White on Paper

Size: 30 W x 12 H x 0.1 D in

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About The Artwork

Peppers sitting on a bench. Hysterical, ha, ha; you'll never look at a pepper the same way. Black and white photo printed on archival paper. It's photo realism with a pinch of Dada and humor to it make interesting. Enjoy it... stu

Details & Dimensions

Photography:Black & White on Paper

Artist Produced Limited Edition of:15

Size:30 W x 12 H x 0.1 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I'm a fine art and commercial photographer living on Cape Cod, Massachusetts. I use medium format Rolleiflex, Hasselblad, Mamiya film and various digital cameras. Studied photography at City College of New York, Long Island University and Columbia University. I began with agencies like Ford and Elite in New York. Afterwards, photographed exhibitions at Washington's Smithsonian Museum, have been published in National Geo magazine, cars of Ralph Lauren Cars , published at Saatchi, Lensculture, NewFocus and Saatchi magazines. Since 2014 represented by Saatchi. Influences include Herb Bisulk, Richard Avedon, Edward Weston, Irving Penn, David Hockney and of course my colleagues, family and friends. My works are collected internationally and recognized by many well known photographers, curators, foundations, publications and collectors such as Annie Liebovitz, Brett Weston, Saatchi's Rebecca Wilson and Simon Townshend of the Who. Clients include Ralph Lauren's classic car collection, National Geographic Magazine and the Richard Avedon Foundation. My Artist's Statement I realize that every discipline of art, photography included, have their limitations and advantages. I find it is best to take whatever advantages are available to achieve your vision. Usually, I’m not satisfied with the status-quo or the accepted way of carrying-on. I like to reinvent my art, photography. I reinvent my work new trends, materials or what I see or invent. For example, at the right angle, seeing a human torso in a pepper. Not always am I successful; but sometimes I am. Paradoxically, I like to over analyze and organize a scenario. This organized confusion works for me. Often, I’m able to see a finished photograph well before the camera comes out. The road to a photograph has waypoints of light, time, trends, humor, angles and focus. An example is that pepper I mentioned. With its fleshy skin, photographed in low contrast, black and white, the camera’s angle and lighting just right the pepper has transformed into a human-like torso. I might consider transforming a piece of bacon into a two-lane road. Since I am so influenced by outside sources; perhaps fickle, my collective work runs the gamut from classical photography to the surreal or more likely making that classical photo surreal. I must put my own spin on my photographs… indeed they’re not snapshots. They are thoughtfully developed and usually playful, emotional and precise.

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