The Portrait Of Dorian Gray by Oscar Wilde, as a young man I saw it from the perspective and view it through the eyes of Dorian, but after recently rereading it, and becoming an artist who sculpts young men in beautiful light, I now see it from the artist Basil’s point of view and now it has a completely different context. It as all art becomes subjective to who we are and what’s in our head at the moment of viewing.
Ansel Adams perfected the theory of the zone system of black and white photography: of seeing, then pre-visualizing what the image should look like, then exposing, processing and printing to place those tones in specific continuum with absolute technical precision I began my life in photography in black and white film, processing myself and printing in the darkroom and follow his theory. It works as well with people as with landscapes. I just now imbue them with my own emotional content. In Tennessee Williams’ opening stage directions to The Glass Menagerie he writes, “The scene is memory and is therefore nonrealistic. Memory takes a lot of poetic license. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart. The interior is therefore rather dim and poetic.” And this is where my art and worlds collide; I now put this in your hands.
VIEW FULL IMAGE: RICKY'S HANDS