Since 1998, the focus on my artistic practice has been to challenge traditional ideas about photography and what a photograph should be of. Specifically, I explore how photography can contribute to abstraction on its own terms; that is, in ways that are unique to photography.
Abstraction in photography represents a considerable departure from Berenice Abbott’s fervent plea for the medium “to reveal and celebrate reality” – the raison d’être for much of 20th century photography. It should come as no surprise, then, that among the best-known abstract photographs are those taken in real world settings in such a way that the subject is not immediately recognizable (e.g., Arron Siskind’s expressive details of painted walls, Minor White’s photographs of Capitol Reef, or William Garnett’s aerial landscapes).
Instead of depicting natural forms as abstractions, my approach is twofold: first, I photograph paper constructions, thereby focusing only on line, form and colour, and second, I create these images using multiple exposures taken from two or more vantage points.
The result is a body of photographs that depict a world wholly created in, rather than discovered through, the camera, while still maintaining fidelity to the medium. Although there is some implicit comparison of these works to paintings, my intention is to create images evoking creations of light rather than paint.
Adam Lodzinski, May 2005