About 812 Welch

...........Early in my photographic career, I was exposed artists such as Roy DeCarava, Julia Margaret Cameron, and Eugene Atget. These three artists helped to shape my stylistic tendencies, but the way Roy DeCarava explored lighting in his images initiated an investigation of light within my own work. I wanted to explore the historical notion of photography as "painting with light." I chose to begin this exploration by working with the color chemical process, which prompted my main body of work, "812 Welch." The limited shooting options and rigid format lead me to explore new lighting, form, composition, and the use of models. This further informed the project, which is a series about a static, unchanged environment shot over a period of time. The only thing that changes is the light. Some might view these images as dark. The subtleties of the images serve to engage the viewer on a more personal level, allowing them to spend more time investigating all of the elements seemingly obscured by darkness. The viewer must allow their eyes to adjust to the photograph in order to fully realize the details. Flickers of light play against vast sections of darkness, abstracted forms peek out from the depths of the photos. In “#14”, vibrant reds contrast against the shadowy silhouette of a figure with a clenched fist. The focus is firmly on the doorknob, leading the viewer to create a miniature narrative about the photograph.