As a result of the manifold mediums I work in, my artistic persona is stylistically nonconformist. My visual art appetite is a melange of celluloid photographs, pastels and film/video. My contemporary photography will psychologically register with the viewer according to whether B&W or color film is my source, as well as their unconscious optical interaction with my emotional intent. Likewise a counterpoint exists in what appears as an academically derived sophistication of fine photographs vs. the innocence & naïveté of my pastels and drawings.
The film & video sensibilities I employ simultaneously embody American story structure while deconstructed in the classically abstract manner of European cinema. Coupled with a pre-occupation for thematic drive, my aesthetic priorities have led to four completed bodies of work, all of which share the common traits of being depopulated & faithful to the natural world, culminating in series’ from the South of France, Manhattan’s Lower East Side, Flanders, London and the Western Catskills. My current focus is the figure along with flora and marine subjects of the Gulf coast of Florida.
A recurring phenomena found in my work, as an essentially self-taught artist, is that despite the absence of any formal influence by artists of previous era’s, I have nonetheless discovered limited after-the-fact-affinities with specific movements and artists. In both realms I was thoroughly without introduction or consciousness concerning such entities until after establishing my own output. As a draughtsman and pastelist I have no discernible identification with peers or predecessors. And as opposed to being inspired by photographers, my historical reference has always been cinematographers. While craftsman from neither idiom are responsible for influencing my work, I did encounter ‘after the fact affinities’ with cinematographers James Wong Howe, Massimo Vitali and Christopher Doyle.
The moody romanticism, historical significance and vernacular attributes of my inspiration have served as the real inertia for my attempts to liberate my works to artistically carbon-date the emblems of both nature & global society.
Posted in 35 mm b&w film, art, Belgium, drawings, film, France, Lahary Pittman, London, Manhattan, museum, New York, New York City, pastels, pastels, photographs, video
Tagged 35mm film, artist, B&W film, gelatin silver, handmade, London, silver
“Hackney Carriages” London, 2010; (c) Lahary
In London a hackney or hackney carriage (also called a black cab, hack or London taxi) is a carriage or automobile for hire. This bold B&W photograph was taken at the Liverpool St. “London Underground” station merely one block from certain set locations for both “Match Point” by Woody Allen and “Basic Instinct 2”. In the United Kingdom, the name hackney carriage refers to a taxicab licensed by the Public Carriage Office in Greater London. In the United States, the police department of the city of Boston has a Hackney Carriage Unit, analogous to taxicab regulators in other cities, that issues Hackney Carriage medallions to its operators. Thus the origin of the New York colloquial term “hack” (taxi or taxi-driver), “hackstand” (taxi stand), and “hack license” (taxi license) are derived from “hackney carriage”.
The name ‘hackney’ was once thought to be an anglicized derivative of French haquenée—a horse of medium size recommended for lady riders; however, current opinion is that it is derived from the village name Hackney (now part of London). The first documented ‘hackney coach’—the forerunner of the more generic ‘hackney carriage’—operated in London in 1621. Astoundingly, “electric hackney carriages” appeared even before the introduction of the internal combustion engine to vehicles for hire in 1901..pre-dating recent automobile innovations such as the Chevrolet Volt, Toyota Prius etc. by 110 years!
Posted in 35 mm b&w film, 35 mm film, art, film, Lahary Pittman, London, New York City, photographs
Tagged 35mm film, black & white, Europe, gelatin silver, London, photographs, print