STATEMENT

shooting analog film gives me the opportunity to be surprised later by what I might be missing now

I am a photographer who likes to go out and shoot as much as possible. I have learned that it takes my consciousness time to catch up to the photograph. I need time and space between the act of shooting and the act of reviewing to gain clarity. This understanding of my process has allowed me to work fluidly and produce a varied and eclectic body of work with series happening simultaneously. 

Similar to photography, the experience of painting is about discovery and the unexpected. My preferred painting surface is wood panel, but I also create works on canvas and paper. Finished works have been the size of doors or small enough to fit in your wallet. I employ a number of techniques and media including drawing, collage, charcoals, pastels, gauche, oil, and acrylic paint.

Currently, I am making work with clear historical references but with many liberties taken. My current series riffs on classic tropes of the bather and the odalisque. Biomorphic figures are placed in a sparse landscape, often alone and exposed on the horizon line, sometimes contained in a box, sometimes falling beyond the border of the painting. The process is intuitive mostly; I prefer to let the piece dictate to me rather than trying to force my will upon the piece or the process. My photo work is also informed by history and the great pioneers of the medium with special nods to Edward Weston, Guy Bourdain, Man Ray, and Erwin Blumenfeld.

In short: I am hoping for a surprise. I feel most at home with asymmetry and imbalance, experiments, and happy accidents. I want what I do not (and cannot) see—seeing as not-seeing. I am chasing and aiming for that narrow and magical space just before one overshoots and misses the mark.

-Alan Joseph Marx, December 2018

 

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