Gerald Grow

 
 
 

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Gerald Grow

Gerald Grow

Tallahassee, FL

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When I retired from college teaching in 2009, I wanted to recapture some of the joy and freedom I felt as a boy playing with whatever came to hand. What came to hand was a small, inexpensive digital camera, so I set out to see what I could make it do -- for no other reason than that it made me happy.

I am a retired journalism professor and long-time Florida resident. I have published many articles and one book. I have exhibited photographs and drawings and am an internationally unrecognized cartoonist.



I began moving the camera as a way of having fun with images – just to see what would happen. 10,000 images later, I found that I was a practitioner of the art of ICM – “Intentional Camera Movement” photography.

These pictures use lights as luminous brushes and the camera as a canvas that moves. Lights, color, space, reflections, lens, motion, timing, rhythm, and the emotional quality of the movement interfuse with the electronics of the camera in unpredictable ways to produce images that range from weird to beatific. The result is a mixture of the orderly and the unpredictable that makes unique patterns -- patterns you might call chaordic, made of order and chaos together.

In some cases, I crop out a piece of a picture and fold it to bring out the symmetry it implies. “A Struck Bell Never Stops Ringing” is an example of this symmetry. Most images are used unaltered, just as the camera produced them – like the radiant Sun-Eye pair and “Yes to Everything!”

I use the camera in an unusual way, but I do not invent these images. They are pictures of things that are really there. This grounding in reality helps save me from the trendy stereotyping that sometimes knocks on the door dressed like creativity.

I spend long periods wandering around inside these images, learning what they are, how they came about, what they express. This wandering through visual space has given me time to think about how art invites contemplative unknowing – unplugging from the mind’s endlessly helpful categorization of experience, visiting a space beyond worry, beyond thought, at the cusp of something grand and beautiful that had till now been disguised as ordinary life.

In its heart, everything is a mystery -- and evocative images help us explore that mystery, and celebrate it.

These are photographs of
(what are all photographs of?)
light.

When I retired from college teaching in 2009, I wanted to recapture some of the joy and freedom I felt as a boy playing with whatever came to hand. What came to hand was a small, inexpensive digital camera, so I set out to see what I could make it do -- for no other reason than that it made me happy.

I am a retired journalism professor and long-time Florida resident. I have published many articles and one book. I have exhibited photographs and drawings and am an internationally unrecognized cartoonist.



I began moving the camera as a way of having fun with images – just to see what would happen. 10,000 images later, I found that I was a practitioner of the art of ICM – “Intentional Camera Movement” photography.

These pictures use lights as luminous brushes and the camera as a canvas that moves. Lights, color, space, reflections, lens, motion, timing, rhythm, and the emotional quality of the movement interfuse with the electronics of the camera in unpredictable ways to produce images that range from weird to beatific. The result is a mixture of the orderly and the unpredictable that makes unique patterns -- patterns you might call chaordic, made of order and chaos together.

In some cases, I crop out a piece of a picture and fold it to bring out the symmetry it implies. “A Struck Bell Never Stops Ringing” is an example of this symmetry. Most images are used unaltered, just as the camera produced them – like the radiant Sun-Eye pair and “Yes to Everything!”

I use the camera in an unusual way, but I do not invent these images. They are pictures of things that are really there. This grounding in reality helps save me from the trendy stereotyping that sometimes knocks on the door dressed like creativity.

I spend long periods wandering around inside these images, learning what they are, how they came about, what they express. This wandering through visual space has given me time to think about how art invites contemplative unknowing – unplugging from the mind’s endlessly helpful categorization of experience, visiting a space beyond worry, beyond thought, at the cusp of something grand and beautiful that had till now been disguised as ordinary life.

In its heart, everything is a mystery -- and evocative images help us explore that mystery, and celebrate it.

These are photographs of
(what are all photographs of?)
light.