But, is it art?

But, is it art? – Fine Art Photography

Over lunch with a friend a few days ago, I had mentioned a potential exhibition of my work next year and the conversation took a familiar turn as to whether photography is as valued or appreciated as an art form as more traditional practises such as painting.  It is a conversation I have had numerous times and then came that other inevitable question ‘so, what constitutes fine art photography?’

Fine Art Photography is perhaps, more than any other genres or classification of photography, a ‘broader church’ than most and seemingly has no generally agreed meaning or definition. 

To summarise numerous sources there does seem some consensus that Fine Art photography is ‘an imprecise category of photographs, created in accordance with the creative vision of photographer, using photography as a means of creative expression.’ 

What also seems generally expressed is that it is distinguished by the fact it is not always concerned with capturing a purely realistic or representational rendition of the subject, as in documentary photography. The fine art photographer’s aim is to produce a more personal – perhaps more evocative, atmospheric or impressionistic image particularly where the intention is aesthetic.  

I am not entirely convinced of the adequacy of any of those definitions because documentary, architectural photography, portraiture, fashion and street photography etc. etc. are often as creative, evocative and atmospheric and as concerned with aesthetics as ‘fine art’ photography.

However, there is a World of difference between an aesthetically appealing picture and what might be considered art. 

What underpins fine art photography is that it conveys an idea, message or an emotion. Again, does that alone distinguish fine art photography from other genres? 

My personal view is that all of the above features characterise fine art photography but what makes photography art, is creative intent or vision and following a creative process to realise that vision.  

To be art, a photograph should elicit a response in the viewer that connects them with artist’s intent or what the artist is trying to convey at an intellectual and/or emotional level.

Like other artists, the fine art photographer is usually making a statement of some kind, this might be thematic, a single word e.g. neglect, isolation, division etc.  or it might be a more complex premise or hypothesis.  Most artists produce an artist’s statement that provides a context to their work which helps viewers interpret and understand what they are looking at.  

However, to my mind photography is a visual medium and therefore it should communicate the thought, emotion or concept that underpins it visually, without the need for words.  I have been to a few exhibitions where the artist statement read more like an essay and where, in my opinion, the images seemed to have only a tenuous connection with what the artist claimed to be expressing. My personal view is that the artist statement should reinforce rather than force interpretation and meaning on the viewer.  If an image succeeds it does so in its direct connection and resonance with the viewer. 

In late September this year I exhibited at the Xposure Photography Festival.  This was unlike any other exhibition I have participated in for two reasons. The first is that it is unusual for so many eminent photographers to gather together for four days and have the opportunity to network and talk about each other’s work.  Photographers, by the very nature of what they do, tend to work in relative isolation. The second was that usually the photographer or artist attends the ‘private view’ for a few hours and that is the only time they get to meet potential buyers in person.  For the remainder of the duration of the exhibition we are usually not present. Being at the exhibition for four days gave me the unique opportunity to interact with fellow photographers and potential buyers and hear what they thought and felt about my work. What was particularly gratifying was that my photographic artworks seemed to elicit the same reactions and emotions with viewers that I had been seeking to capture and convey. For me, many of my images evoke a sense of spiritual calm and coherence, they are almost a meditation. I am also obsessed and wonder-struck by the horizon which I consider a metaphor for life - what lies beyond it is the unknown, it promises everything and reveals nothing.  

One of the highlights of Xposure was when Kathy Moran, Senior Editor at National Geographic, sought me out to tell me she had visited my exhibition three times in one day and that she thought my images were mesmerising and tranquil and that she could stare at them for hours.  

'Chris's artworks are meditative and evocative abstractions of the landscape reducing it to its basic elements.' - Simon Newton - Creative Director, Xposure

'Nothing short of spiritual' - Professor J Tomas Lopez

'A fortunate occasion to meditate on the center of one's personal world.'

'Rays highlight the ocean...a beautiful metaphor for focus, for seeing clearly, for meditating on a personal intention.'

My own images are about emotion and sometimes those emotions cannot be adequately expressed in words.  For me that is the power of art and photography.  A picture may be worth a thousand words but sometimes a picture takes us beyond words. It is a non-verbal language that connects directly with our deepest emotions and feelings. 

I live on the Lizard peninsula in Cornwall, surrounded on three sides by sea. I have always been drawn to the ocean so quite naturally I shoot a lot of seascapes.  The sea has a deeply rooted significance and place in the human psyche which was postulated by Jung as a symbol of the collective unconscious ‘The sea is like music, it has all the dreams of the soul within itself and sounds them over.’ It is symbolic of renewal and purification and modern ‘blue mind’ science acknowledges the mental and physical benefits of being by the ocean and water.  This effect extends to even looking at images of the ocean and water. These are among the themes and thoughts that underpin my images. 

All of my work is about a visceral reaction to being immersed in the landscape not just visually but through all of my senses. Nature and in particular the sea for me is the ultimate subject.  It is ever-changing and whilst nature itself is not imbued with emotion I often describe it in those terms – an angry sea, or a serene sea. In this way nature evokes emotions and equally my own mood and emotions influence what and how I choose to shoot.

Like the abstract expressionists I feel it is as valid for an image to evoke or express an emotion as it is to express an idea, or comment on social, political or gender issues etc.  The important thing is that it connects, is felt and resonates with the viewer as was my intent.