Something I’ve been thinking about

I like that I feel like I’m creating a painting through some of my photos.  Contrast between specific details and overall contextual ambience, grainy texture and definitive colors matter a lot when it comes to creating what I think is a visually strong image.  I’d like to say I do photos rather than imaging because I don’t want to cause an illusion of fiction when I’m merely capturing what actually happened at the moment.  Still, there is a lot of fun in dramatizing the moment a bit since, as we all know by now, in the end, it’s really up to a perceiver to get whatever he/she wants to make out of the experience of viewing my photos.  Though it is impossible without interactive dialogues to find out what goes through viewers mind while looking at my photos, imagining the diversity of neurological reactions and subsequent internal changes (regardless of whether they are aware of the changes or not) that occur to viewers due to being not only visually but also contextually and experientially stimulated by seeing my photos is probably one of the most enjoyable aspects of being an artist.  

This aspect has always fascinated me since I was doing music and I’ve been thinking about this a lot for some time now.  Any kind of stimulants we come across - not just when we practice arts, but also when we do something completely mundane and trivial like staring at something blankly or even during that bleak seconds of somewhere between clearly controlled consciousness and not being able to think straight as we are about to sneeze - affects us in some way and that’s part of the way we evolve.  With a bit of training, a bit of talent and a whole lot of gutsy instincts, a good artist is attentive to and comfortable with the way his/her artistic stimulants can be manipulative.  Obviously, going back to my point earlier, effects of the manipulative stimulants are never the same from person to person.  It goes without saying that a humble artistic mind should be always be prepared for, and even be excited about, unforeseeable spontaneous responses.  But intentions behind an artistic work should be clear in a strong artist’s mind, regardless of whether they’re “correctly” conveyed to the audience.  Even in the case when the artist comes up with the intentions throughout the production or even after completing the work, not beforehand.