October 2010: George deSaint-Rat

George deSaint-Rat was born in France, at Chateau-Thierry, 40 miles from Paris. He was brought to America as a 5 year old. His first memory of America was seeing New York City from their ship. He says, “I couldn’t believe it...I was blown away…can you imagine coming from a little town in France and then seeing the lights of New York City at night, from the harbor? It was amazing!”

He has worked primarily as a photojournalist and editorial photographer for local non profit organizations. To gain an understanding of Georges’ photojournalism, one must look back to see the difference between what photojournalists produced ‘back in the day’ and what is produced currently.

Archetypal photojournalism of the day included Tri-X 35mm film, usually ‘pushed’ with processing, shots taken with available light under poor circumstances, and a raw, gritty feel to the end product. It wasn’t done to achieve a ‘look’. Many times it was the only way to get usable images for publication. The tools of today can imitate any ‘look’. What they can’t do is imitate the content. They can’t imitate ‘the decisive moment’, or the reality of ‘being there in the moment’ observing and recording with an artists’ sensibility the events of our time.

As a photojournalist, Georges’ work demonstrates this understanding. He wants to be right in the middle of his subjects, he closes in on them as he becomes engrossed in the process. He uses very wide angle lenses to get close to his subject matter; closer than many people feel comfortable about. After breaking through the invisible shell we each carry around us, he uses this proximity to provide an intimate touch to his photographic vision.

Current photojournalism is different. It has been changed from observational reportage to something resembling event photography.

His work is most influenced by Henri Cartier-Bresson, Andre Kertesz, and documentary photography done from the 1930s through the 1960s.

May 2010: Del Lusk

Del Lusk began his photographic career in the 1960’s, working as a magazine and news photographer. Lusk made the switch to fine art and academics in the early 1970’s, obtaining a position in the Journalism and Photography Department at Lewis-Clark State College in Idaho. Concurrent with his teaching, he was able to cultivate and promote his personal work, exhibiting regularly in the Northwest. His photographs were awarded numerous accolades and exhibits during this period, adding to his accomplishments as a documentary and news photographer. A hiatus as a stockbroker interrupted Mr. Lusk’s creative pursuits in the 1980’s.

Currently, Del Lusk has once again found his muse via the camera. His most enchanting body of work is devoted to manikins. Reminiscent of Umbo (Otto Umbehr) and Max Yavno, the Manikins in Storage series evokes a time past and hints at the metaphysical, a reflection of human interaction using inanimate stand-ins. Equally lovely is Lusk’s landscape work, which reflects his interest in the history of civilization, photographing sacred spots in Rome, Sicily and Sardinia.

Del Lusk’s prints are 11 x 14 inch Toned Gelatin Silver Prints, priced at $500 and are available through STOOTS Fine Photography.


Artist Bio courtesy of:

January 2010: Christian Arrecis

Setting the Planets Into Motion
2007
10" x 15"

The SFCC Photography Gallery is presenting the work of Chicago Artist Christian Arrecis. Christian received his MFA in 2008 and teaches at Northern Illinois University.

Artist Statement

Phaenomena Naturalis is a series of photographs through which I attempt to navigate and understand the natural world; it is an attempt at understanding some of life's universal and enduring questions. Light and shadow function on a symbolic level—the revelation of truth. Books and their time-worn pages, bits of text and images, and found objects all serve as a vehicl Phaenomena Naturalis is a series of photographs through which I attempt to navigate and understand the natural world; it is an attempt at understanding some of life's universal and enduring questions. Light and shadow function on a symbolic level—the revelation of truth. Books and their time-worn pages, bits of text and images, and found objects all serve as a vehicle to suggest a figurative voyage, that the mysteries of the world can be unlocked and revealed.

I am interested in an exploration of the world through referencing legend, through the intersection between science and magic and where superstition meets history. As such, an intimation of the arcane, the mythological and the mysterious informs these photographs.e to suggest a figurative voyage, that the mysteries of the world can be unlocked and revealed.

I am interested in an exploration of the world through referencing legend, through the intersection between science and magic and where superstition meets history. As such, an intimation of the arcane, the mythological and the mysterious informs these photographs.

To see more of Christian's work online visit: http://christianarrecis.com