CRAFT OF MAINE – AUGUST 2008

Four Maine photographers capture the moment

Alan Vlach On abstract images and urban landscapes: My work has evolved from a broad view of the landscape to an abstract one utilizing light, space, form, texture, and tone to define the imagery rather than clearly identifiable subjects. I recently began a project of mostly urban landscapes, photographing wall art—graffiti, posters, and abstracts of deteriorating walls. I have also begun printing in alternative processes such as platinum/palladium and salted paper in addition to silver printing.

On influences, a mentor, and a friend: Many great photographers have influenced my work: Edward and Brett Weston, Paul Caponigro, Frederick Sommer, John Sexton, and Aaron Siskind, in addition to my friend, mentor, and teacher—Brenton Hamilton.

For more Vlach: alanvlach.com

 

 

 

 

 

 

 

David Brook Stess

On observation, participation, and wild blueberries: On my first visit to Maine I stumbled onto the wild blueberry harvest. I had been looking for a project I could weave into my life and photograph from the inside out—participating, not just observing. In 1989 I signed up for the harvest and have been working and photographing it every year since.

On observing with respect and capturing the dignity of subjects: Over the last twenty years I have gained experience in my art and craft, allowing me to see the world through different eyes. I have tried very hard to capture my respect for people and their lives, and the dignity of those lives, in my work.

For more Stess: voxphotographs.com, The Portland Museum of Art, The Farnsworth Art Museum, University of Maine at Machias, University of Maine at Presque Isle

 

Scott Peterman

On the beauty of a harsh climate: Maine weather and light has always been a strong influence on my work; it’s why I moved back here. The “milky” days in late winter, with white skies, sleet, fog, and just crappy atmosphere can be so beautiful. This type of weather totally informed my first long series of ice fishing shacks.

On the tale of two series: Recently I’ve been working on two photographic series. One is a set of incredibly simple and spare landscapes in Maine, the West, Iceland, and other locations like Hawaii and Florida. I’m really interested in raw, almost primal landscapes that speak about our weird relationship to the land. The other series is of mega-cities around the world (Tokyo, Mexico City, Cairo, Sao Paulo, New York), creating the opposite extreme where the image is filled with a chaotic multitude.

For more Peterman: scottpeterman.com, Zero Station Gallery

 

Rose Marasco

On living the dream: I started visiting Maine in late 70s, always dreaming of living here. In 1979, while camping in Freeport, I opened the Maine Sunday Telegram to an ad seeking part-time faculty in the art department at the University of Southern Maine. I am still here and currently a tenured professor in the art department.

On avoiding natural selection: I think my work has evolved more toward the making of an image rather than a selection of one in the real world. Thus, in my new series, Interiors, I have arranged objects to be photographed. In many ways it is like making a collage, but it reads as a photograph.

For more Marasco: rosemarasco.com

 

 

Maggie Foskett

On exploring nature’s hidden side: I was born in Brazil in 1919 and raised there when it was still a raw and undeveloped country. My fascination with the hidden side of nature began at an early age. To this day I read the New York Times science section before I read the headlines.

On her eureka moment: My darkroom in Florida is surrounded by a jungle. One day I saw an enormous tarantula that seemed to crawl across the easel. When I found the intruder, he was in the slot where I usually place the negative. His legs were no longer than an eyelash. Every since that accidental discovery, I look for all sorts of transparent organisms such as the wing of a moth. On a small square of glass, I arrange my finds placing them under the light of the enlarger. The enlarger magnifies detail just as it did with the spider and prints my composition directly onto photographic paper.

For more Foskett: The Caldbeck Gallery, The Portland Museum of Art, The Farnsworth Art Museum, University of New England