TJ: I have always been attracted to the abstract, both in my own work and the work of others.  Before I ever picked up a camera I experimented with other mediums and always tended to portray subjects in an obscure manner.  When I did finally take up photography (which was a eureka moment itself, taking place in single night) the desire to create abstract work naturally carried over.

Professionally I was a commercial photographer and mainly did advertising work for restaurants.  I really didn’t have any connection with this work and found it non stimulating.  In my spare time I experimented with abstract photography using some common methods but found this as equally non stimulating.  As much as I as I loved the unique abilities of the camera I found myself feeling creatively constrained by it, unable to fully express myself.  

Earlier in life when painting I enjoyed the feeling of being able to convey onto canvas anything I wanted without restriction.  I wanted that same freedom photographically.  To achieve this I decided to focus on creating and controlling the subject that was projected to camera.  Thus turning the camera into a sort of high tech blank canvas.  This was a eureka moment but it was definitely a journey to get it right.  Once I felt I had developed a solid working method I dropped commercial photography all together and decided to only focus on fine art work.

SD: Do you think your  work falls into an already established genre like abstract impressionism or abstract expressionism or is this something new? Is there a label you use to describe it?

TJ: Visually my photographs could fall into a number of existing genres.  Early on I studied many of these trying to find a fit for my imagery but none of them truly encompassed my work in its entirety.  After dissecting my work visually and technically I decided to classify it as “Photographic Surreal Impressionism”.  This classification signifies that the images are created with a camera and conveys a personal interpretation of a subject in the same dreamlike way it is mentally imagined.

I also gave a title to the process used to create the work, “The Liberum Method”.  Based on the philosophy of subject creation rather than subject documentation this method is all about manifesting what is portrayed to the camera.  Liberum is Latin word meaning free and unrestricted.  This simple definition truly represents what my work is all about.

TJ:  Without photography my body of work could not exist.  The camera has the unique ability to capture and portray a moment in time precisely the way it was.  No other artistic medium can truly do this with the same sense of honesty that photography can.  Using the camera allows me to convey this sense of moment through my imagery.  When you are viewing one of my photographs you know that you are viewing something that was real and existed for a moment in time.  This helps to convey a sense of honesty and provides a more organic feel to the work.  that would not be possible without the element of integrity that a camera can offer.

TJ:  It was overwhelming. I would be lying if said I didn’t know this would be hot issue but I did not expect the volume of responses I received.  My inbox was filled with responses.  As you might expect I received a good bit of harsh criticism, some of which was very “colorfully” worded.  On the other hand I found many like minded artists in my corner.  The majority seemed to agree that there was a difference in what we have traditionally called photography and digital-art that should be better defined.

I actually believe this debate is more relevant to the public than the artists creating the work.  The photographer produces the image but the viewer is subjected to it.  One example of this is the effect that over processed fashion/glamour images have on the audience.  How many people, especially young persons, have made themselves sick both mentally and physically trying to look like the models in these “photographs”?  When in reality these images have been so heavily edited that they are more like paintings rather than photographs.

TJ:  I am/have always been a bricks and mortar type of guy.  Most of my efforts have been in trying to get my work shown in either physical form or in print.  While I have always understood the importance of a personal website I was a nonbeliever in the power of social media and neglected the use of it in the early stages of my career.  This was a mistake. 

After eventually being persuaded that I should have some kind of social presence I realized how wrong I had been.  In the two years since I started a blog and became active on various social media sites I have been awakened to there power.  Solely through these online tools I have had multiple opportunities including write ups, magazine features, exhibitions, meeting some great people and even the chance to do this interview.  Many times these have lead directly or indirectly to relationships with new collectors.   Had I not has a social presence these opportunities would have never presented themselves.

All that being said I am still a brick and mortar type guy.  I don’t think an image posted on a webpage can ever be as compelling as seeing the physical piece in person.  

TJ:  It seems like every time I finish a successful shoot I come away with a new favorite.  If I had to name one that stands out to me it would be, “Tracey Did I Lock The Door, Are You Sure?”.  Completed in 2009 this photograph represents one of the first times that my philosophy towards image making and my experimental techniques truly came together harmoniously.  At the time this image vindicated, for me personally, the direction I was taking creatively.