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"The Photographer's Eye Series:
Walls—the sides of things"

On to Gallery

There has long been in photographic circles the notion of the photographer’s eye. This is the understanding that photographers have a way of seeing the world around them that is distinct from other ways of seeing. Many consider the photographer’s unique way of seeing as magical, or mysterious—a process of making visual reality that is exotic to them.

Photographers explore light and texture much the same as the early mountaineers and plainsmen explored the American West. Because it forms their reason for existence, photographers are intrigued by the way the nature of light changes the nature of seeing. High-light, side-light, flat-light, spectral-light, axis-light, back-light, low-light: all of these offer the photographer potential for visual exploration.

Aesthetically, there is no photographic composition without light. Form and line, tensions of negative and positive space, color and gray-scale are not issues without light. Accordingly, the photographer lives for light, and lives because of it.

I eat light like candy. From the cool bluish light of winter, to the warm, golden sun of autumn, I find my life becoming more and more real in the daytime than in the nighttime.

The images in “The Photographer’s Eye Series: Walls—the sides of things” exhibition are celebrations of light’s action on texture and color, highlight and shadow, and while texture and color form the basis for the compositional elements of each image, at the core of the composition is an unknown, unspeakable mystery that pleads to be made known by way of my camera. I encourage the viewer to explore within themselves the parallel of this mystery.

I should address the vocabulary of this exhibition. Each image offers a visual as well as a textual statement. The equivocal and abstract content of visual image balances with the ambiguous nature of title. Both form the image-content because both are abstract claims made on reality—the reality of mystery. Together image-content and title act to construct a reality into which the viewer can enter—an environment that is different from their normal environment.

For those who might be interested, my influences have been: my mother, Degas, the New York School of Expressionism, Minimalism, Alfred Stieglitz, Cubism, Dadism, Ernst Haas, Pete Turner, Seurat, Michael Himovitz, Salvador Dali, Minor White, Hans Hoffman, the Fauvists, Arlan Welch, Benny Barrios, Alexander Nepote, Frank Miller, Clifford Still, and Glen Fishback.

On to Gallery

All images are on archival photographic paper and as archival ink-jet images.
Prices depend on choice. Please contact Hilary F. Marckx for more information about size availability, pricing, and obtaining a matted image.

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"The Photographer's Eye Series: Walls—the sides of things"

"The Photographer's Eye Series:
Walls—the sides of things"