|"Sunrise on the Marsh 2: Sandhill Cranes" by R. Christopher Vest|
Artist R. Christopher Vest creates painted photo montages of all things nature: whether his subject is landscapes, wildlife, or domestic animals, his camera and tablet bring that subject to life and celebrate its natural beauty.
Something that makes Vest's work so eye-catching is the nuanced degrees of realism. As the viewer looks at a piece, he or she might reflect on how beautiful the lighting is, how perfectly an animal is posed, how delicately a leaf is turned in the wind--and as the viewer continues to look, more and more of the piece's painted aspects emerge, showing just how fine the line can be between a photograph and a painting.
Vest lives on a farm in Colorado, and is working with his partner Cathy to restore the land while also operating a small animal shelter. Like so many artists, his life outside of his art still seems to inspire his pieces.
|"African Starlings" by R Christopher Vest|
Describe your technique of painted photo montage.
I coined the phrase 'painted photo montage' to describe my process of building images with both digital painting and photography. It seems there is a bit of bias against this evolving medium from pure photographers and painters. While photo-manipulation is accepted in computer gaming and in the movies, in the fine arts realm we still have some respect to be earned to get beyond the notion of trickery accomplished by the pushing of a button in Photoshop. I like to remind folks that many of these techniques were pioneered around the turn of the century (that would be 1900, not 2000) by a group of photographers called the "photo secessionists" organized by Alfred Stieglitz. The movement strove to bridge the perceived chasm between photography-- which was thought of as merely a documentary medium-- and fine art.
|'Ein Sommertag' by Kuehn|