Do you consider yourself an artist?
What is it that you love about your style of photography?
My relation with photography keeps entirely to an artistic, creative and experimental approach, inherited from my educational background in Fine Arts. So, my impressionist technique is focused to promoting, first of all, a transgression of the photographically captured reality itself, which allows me to approach into the dreamlike territories that I'm always looking for. Although my works are based on reality, I always try to incorporate, by means of an experimental treatment, something original, creative, narrative, moody, pictorial, and/or poetic in some way, to the extent that their evocative poweris stronger that the images itself.
What are your creative methods for creating your images?
My work, as a whole, follows an impressionist and pictorialist way. Some of my recontextualised photomontages have certain surreal reminiscences. On the other hand, I often use expressionist elements in relation to the presence of vigorous strokes and the emotive use of colour. Many people have asked me about my work method and about the 'secret' of my style. They are really very simple. Itis basically, slightly vibrate the camera when shooting, and then apply a long digital postprocessing onthe image, using multiple layers of textures. I think this texturing process is the true creative method.
Which artist do you admire the most?
Painters and sculptors: Anselm Kiefer, Antoni Tàpies, Egon Schiele, Ernst Ludwig Kirchner, Jean Dubuffet, Louise Bourgeois, Lucian Freud, Marc Chagall, Miquel Barceló, Pablo Picasso, Paul Klee, Robert Rauschenberg, Rembrandt, Sigmar Polke, Willen de Kooning, William Turner.
Photographers: Chema Madoz, Gregory Colbert, Jan Saudek, JoelPeter Witkin, Mike and Doug Stern.
Among all of them, the most direct mentor in my artwork is the English romantic painter William Turner (17751851). I am very fascinated and inspired by his impressionistic vision of atmospheric washes, the moods of nature and ephemeral atmospheric effects; how he painted by leaving out solid objects and detail, concentrating on the play of light and shimmering colour on forms. His style is simply timeless and undying.
What inspires you the most?
My main subjects are natural landscapes, cityscapes, seascapes, ruralscapes and cloudscapes; spaces discovered by my eyes, captured through my camera, discussed by my mind, interpreted by my soul and expressed through my hands. My captures often incorporate elements of urban transit as a link between the works, at both formal and symbolic level: bridges, roads, stairs, tunnels, boats and vehicles.
What do you do in order to get through a creative block?
I almost always carry my camera with me. In any everyday situation, I feel often motivated by the possibility of breaking the formal aspects of our visual perception. Sometimes, all I need is a snapshot taken in which there was no time to think, only to catch it quickly from inside a speeding car. Later, when I set my photographic vision out for each scene in particular during postprocessing, I usually reinterpret the initial look, combining the factors of memory, concept and feelings. In this way, I can systematise my creative process and overcome any block.
When do you get your best ideas?
I think the way we interpret the things just give us a lot more that the things themselves. In many of myworks, a single leaf on the floor can assume a great physical, structural and poetic presence. Anything depends on our point of view.
Does your inner critic whisper in your ear? What does it say?
I try to lead beyond the reliance on technical aspects and the constrainting values of the traditional photographic representation, such as: the correct focus, the balanced tonal range, the realistic chromaticism, the freezing of the movement, the reliable documentation of a model, scene or event, thedepth of field. Sometimes, I criticise myself, wondering whether or not this is the right way: in the fieldof creativity, in general those photographs that keep to classical themes, as landscapes or portraits, get much more popularity in photographic social networks, such as Flickr or Instagram, than experimental or abstract works, or those with an intimate or independent thematic. I always prefer try to break the commonplace scenes, often captured in postcards. As I mentioned, in my artistic process, the creativity is often imposed over the reason, the breaking over the conventional, and the insubstantial over the substantial.
What have been your biggest challenges and achievements?
One group exhibition at the Agora Gallery in Chelsea (New York) in November 2011, and a projection of my artwork in the "American Eagle Billboard", one 60m high billboard in Times Square (July 24th 2014).
What ambitions do you have now and where do you see yourself taking this in the future?
Currently, I am negotiating a future solo exhibition in the Lower East Side of Manhattan.
For more information please visit https://www.facebook.com/AlfredoGonzalez.art