B E N D I N G   L I G H T

 ~ The Art of Flower Abstraction ~


   Mark Lissick

 “Creation is mankind’s ultimate treasure.”


     For me, being a photographer is as much a state of mind as it is a way of making a living. The almost obsessive passion of creativity through image making as well as the equipment and techniques, has as much to do with my identity as it does with the images I make. My images speak for and of me, letting the viewer inside to understand what I was visualizing and feeling while gaining a glimpse of who I am.

    For years, I had conceptualized images floating around in my mind that I was unable to create by classical photographic techniques. They represented an opportunity to achieve a new degree of creative freedom if I could but solve the technical hurdles using the tools at my disposal. My goal was to bring time, color, and light together as one to create an entirely new visual experience. It was to be a journey into uncharted artistic waters. While the unknown consisted of things that I had seen a thousand times before through the lens, I discovered aspects of them I had never previously recognized.

    The images in this book represents a progression of creative thought from what was learned to what was discovered. They bear testimony to a journey of creativity. Like many of my fellow photographers, both amateur and professional, I began the journey by walking in the footsteps of those who came before. It was there that I gained the knowledge and understanding that became the foundation upon which my art was built.

    On many levels this was a good thing as it helped me to define and put structure to my understanding of our world, how it operates, and how we are a part of it. Words such as: fundamentals, principles, and rules are all used to describe the world and reality in which I chose to practice my art. In a creative process, having some artistic structure is necessary. Artistic structures are figuratively comprised of foundations, columns, and beams. These components provide us a framework around which to build our artistic creations. That said, such structural concepts can just as easily become bars of a cage beyond which our creative process cannot go. To open up new avenues of creativity either creative barriers have to be removed or new realities put into place.

    Strangely enough the strongest influences for my abstracts have their roots in my more reality-based landscape work. As a statement about influence, that seems about right, for, with the passage of enough time, every artist learns to rise from their own ashes like a Phoenix born anew. My abstract images contain within them the inner structure of my landscape work particularly in the use of space, color, and balance.


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