How does a photographer working within the bounds of straight photography create non-representational images? Straight photography typically focuses on specific objects, mechanically prompting the viewer to use socially constructed definitions of the object and its milieu to interpret the meaning of the photograph. My primary goal has been to remove objects, relying solely upon color, time and form to convey thoughts, moods and emotions. In addition, I have sought to find a way around calling upon viewers to interpret, instead encouraging them to project themselves and their own meaning into the image.
I have a love-hate relationship with water, which inspires both fear and awe, sometimes simultaneously. The water is in constant flux and can turn on you at any moment; movement embodies power and the reflection of light gives this power form. The sky shares the same elemental properties as the sea; as wind shifts the air, so currents stir the water. The horizon, whether visible or not, is the fulcrum of these elements, balancing water and air as they lie in harmony or violent opposition.
My work has been heavily influenced by Abstract-Expressionist painters who worked intuitively, discarding the use of objects and instead expressing their relationship to the world through the use of line, form, color and scale. While holding true to my beliefs in straight photography, I have found the means of expressing myself within the bounds of this medium.
Often my only intervention will be to carefully control the length of exposure time, thereby allowing the film to capture the light and dynamism of the water, encapsulating my emotional state, as unadulterated as possible by synthetic processes. The supple lines and washed colors of the images allow for a surprisingly broad scope of expression, such that these photographs comprise a working relationship between the world and myself.
I hope that viewers of these images will feel comfortable with the representational ambiguities of these images and give free rein to their visceral responses.
Jeremy has been a professional location photographer since graduating in 1995 with a BFA from Parsons School of Design/Parsons Paris and a minor in Art Education. His specialties include Portraits, Interiors and Events, and his work has been seen in many magazines including People Magazine, In-Style, Martha Stewart and Time Out NY. Also, his photographs have recently been published in the book, Knoll: A Modernist Universe.
Jeremy’s personal photography work is influenced by the modern masters but incorporates non- traditional cameras and lens such as pinhole and macro lenses to produce his abstract work. His photographs have been exhibited in the Museum of the City of New York, Foley Gallery in NYC and the Silvermine Art Center. He is currently working on a body of work entitled “Macro/Micro.”