Recently I wanted to create a body of work revolving around the topic of food. My father was a chef and three years ago I changed my life entirely by becoming vegan. Food is something I am passionate about. The images here are the beginning of many musings toward a commitment to still life photography. Consider this a sketchbook.
There are very apparent nods to photographers whose work I have been looking at for quite sometime now. The work that I tend to be most stimulated by is Irving Penn’s monograph Still Life. This book is an assortment of images, mostly table top still life with some product and fashion related photographs. There are many images that present beauty to be found in the grotesque or rotten. Being a little too morbidly minded, these images are the examples I find to be the most visually striking. Nature morte at it’s finest is also found in the work of Michiko Kon and David Halliday. In the book Still Life in Photography by Paul Martineau the introduction covers the history of the still life by referencing numerous paintings to the the invent of photography where the technology demanded that subject matter be still/non-moving due to long exposure times. There are many wonderfully produced plates but I am left with an incomplete survey of the still life in photography I had great hopes for this book, but I feel there has been many works and styles excluded. The introduction concludes that there is a revival of the still life due to the transformation of photography into the digital realm. I have not yet seen the motions of a serious resurgence of the genre quite yet aside from the cliche attempts of photographing flora in vases next to baskets of fruit.
I am still hopeful for a resurgence of still life in fine art photography. There has been nothing but invaluable experience in my brief adventures of devoting most of my photographic time for the last year to creating still life images. With this practice I have gained a maturity within the medium of photography that supersedes any other possibility for refinements in the other artistic involvements I have with photography. My attention to detail, conception, formal arrangements, and awareness of light (color, tonality, etc…) have become more vigilant in my approach to creating photographs due to exercises in the still life.