Share
Project Views
Appreciations
61
Followers
19
Following
16
I came to the medium of photography through the visual arts to record images of my sculpture for a portfolio presentation for acceptance in the Masters program at RISD (Rhode Island School of Design) in 1966. Later on I became fascinated with the immense possiblities of the medium itself to produce visual ideas an… Read More
I came to the medium of photography through the visual arts to record images of my sculpture for a portfolio presentation for acceptance in the Masters program at RISD (Rhode Island School of Design) in 1966. Later on I became fascinated with the immense possiblities of the medium itself to produce visual ideas and concepts that related to my dimensional work in sculpture. I consider my work with the photographic medium to be my second sight, negotiated observations.

Photography is as malleable a medium as paint, ink or clay. Inherently this medium rarely tells the truth. At its best it is abstraction. My image making is a reductive process which entails removing all extraneous information until the essence of the object is reached. This is accomplished by removing the "noise" and reducing form and space to its fundamental properties.

My concerns within the photographic medium closely follow that of my past work with sculpture:  the construction and placement of form within a defined space, the frame, to create tensions, balance and contrast.  As Aaron Siskind stated "When I make a photograph I want it to be an altogether new object, complete and self-contained, whose basic condition is order." I would hope that the viewer approach these works with an openness - a willingness to be surprised and/or taken outside of their comfort zone.

I shoot analog but have given up the wet darkroom for the digital one. In the case of original information, the digital file vs. the negative, I distrust any medium that relinquishes any physical properties.

The works contained in most of my portfolios can be considered non-objective. Pure abstraction in the form of photography can only exist as a concept since the medium itself is dependent on the recording of real objects on light sensitive material.

Dominic F. Ciancibelli
Kalama, Wa.
Read Less
2012 Group show at the Rose Gallery, Lower Columbia College, Longview. Washington

2011 One man show at New Hope Art Centre, New Hope, PA.

2009 Front cover image, interview and images included in Haphazart issue No. 1. May 2009

2006 Four images included in Black and White Magazine… Read More
2012 Group show at the Rose Gallery, Lower Columbia College, Longview. Washington

2011 One man show at New Hope Art Centre, New Hope, PA.

2009 Front cover image, interview and images included in Haphazart issue No. 1. May 2009

2006 Four images included in Black and White Magazine's Special Issue


2006 One man show at the Koth Gallery, Longview, Washington


2004 Buckham Gallery, Flint Michigan - group show with "withoutgrass"

2001 Published in “Better Picture Guide to Black and White Photography 2” Terry Hope, Rotovision, U.K. ISBN 2-88046-479-X


2001 Site included in Black & White World's Top Ten sites.


1974 Solo exhibition of photography at the Northwest Gallery in Kelso, Wa.
1967-71 Continued work in sculpture, photography and independent film making. Films shown at open screenings at Canyon Cinema/San Francisco Art Institute.


1967 Group show of young sculptors at the Park Place Gallery.


1966-7 Group shows at the Spring Street Museum.

Assistant to Roy Lichtenstein: painter, Adolph Gottlieb: painter,
Ad Reinhardt: painter, Mark Rothko: painter, Lee Krasner: painter, Giora Novak: sculptor and George Sugarman: sculptor.

1966 Aspen Contemporary School of Art, Aspen Co. Assistant to Charles Ginnever, sculptor.
1964-5 Assistant to Robert Koepnic, sculptor.


1963-66 University of Dayton/Dayton Art Institute. Sculpture Major. Read Less
Member since: