The landscapes between photography and painting by Dorothy Simpson Krause
Categories: Camera chiara, Interviste, Pittura — Tags: Collage, Dorothy Simpson Krause, Innovazione tecnica, Pittorialismo, Semplicità, Stampa, Stampa inkjet
Translations:
italiano •
© Dorothy Simpson Krause
FB: In the series Fragile Beauty and Sacred Spaces you have worked on the photographies by Donna Rosetti Bailey and Viola Kaumlen, reinventing them using several techniques. Is it the same for the series Viewpoint or you shoot the pictures personally? Are these photographies originally designed to be printed in this way? Or this is a special edition, and there are also versions printed in a traditional way? What are the implications of working on someone else photographies?
DSK: The photographs in the Viewpoint series are mine but I’m not a photographer and I don’t like to shoot. I find the camera distances me from the experience.
© Dorothy Simpson Krause
The photographic image, for me, is a part of the collage process. The images in these series came from various times and places and were brought together conceptually. For the most part, unless they are straight prints on a custom substrate, aluminum or Dibond, they are one-of-a-kind. The editioned prints are usually a very small number. Posters on gloss paper would be the only re-prints of any of my images.
FB: During your career you travel a lot, often staying abroad for some time. How important is the journey in your artistic activity?
DSK: I travel (and take workshops) to provide me with new experiences. Some series, like Vietnam Journal, Journey of the Spirit, Cuba and Promised Land couldn’t have been done without the trips. My recent work, however, is both global and local, focusing on the land and how our increasing population density is impacting the planet.
FB: Can yu tell some word about one of your images?
© Dorothy Simpson Krause
DSK: Seeds began with a photograph taken from the deck of my home, across the marsh and North River. It was combined with a painting in Photoshop and the color radically altered. It was printed 24” x 24” in an edition of 4 on a custom substrate made from textured spunbonded polyester coated with metallic pigment and inkAID precoat. Part of the series “Sacred Spaces”, it was created after the collapse of the World Trade Center when I needed to find nearby places that could still the mind, nourish the soul and provide a refuge for reflection and contemplation.
FB: Can you tell me about a contemporary photographer you especially like, and why you love his work?
DSK: I find Sebastião Salgado’s work powerful and moving. I also appreciate some of the innovative presentations of Mike e Doug Starn.
FB: What book are you currently reading? What music listening? What are your favorite movies?
DSK: I’m reading Audrey Neffenegger’s “The Time Traveler’s Wife”. If I listen to music it’s classical or jazz and functions as background until I find it distracting. I love the films of Peter Greenaway and Merchant-Ivory - I’m looking forward to “Love in the Time of Cholera”.
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