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His imagery is infused with irony, humor and hyperbole; transforming organic content into supernatural parallel universes and embellished realities with elements so seamlessly blended that we are forced to authenticate their existence in our own minds. In an era where the lineation between fine art and advertising photography is becoming indecipherable , Glen continues to efface it by exceeding the demands of the marketplace with memorable and evocative works. "He seems to have caught on long ago that the best way to create images that maintain a lasting impression and that can also cross conceptual, theoretical, and market divisions is to play one's individual strengths" writes Tim Wride, founder of the No Strings Foundation and Curator of Photography for Los Angeles County Museum of Art. An early advocate for digital imaging technology as an instrument in the creative process Glen has harnessed these tools and the figments of his exceptionally creative imagination, to produce elaborate, often times other worldly and surreal photo illustrations. We sat down with Glen to discuss his imagery, career and his upcoming projects.
Photography is about the recording and manipulation of light. As a thinking photographer you create images with purpose, and every step of the process requires subjective decisions; which lens, exposure, point of view, styling, the edit, the printing, etc. Digital image editing simply extends the options, freedom and control to manipulate the outcome of the final image. The irony of my work is that I am not particularly technically inclined or inherently interested in the technical aspects of the craft of photography, but the advances in imaging tools have immensely enhance my creative problem solving. The introduction of digital imaging technology in the mid 1980's had an immediate positive impact on my productivity. What previously took weeks could then be done in a matter of hours, or less. In my opinion, digital image editing has had the greatest impact on the photographic image since the inception of the medium. What other technological advancements are of interest to you? Do you shoot digitally? I am a more recent convert to digital capture. Up until the past year, I didn't see digital capture as a better medium than film. The use of film never placed any particular limitations on my work. I still love the look and feel of film, however, the resolution and quality of digital capture is becoming so good that it is futile to resist the advantages of the immediate feedback, and eliminating the need to scan film prior to post production. With the exception of large format 4x5 film, digital capture has replaced the smaller formats. The other technology that has had a tremendous impact on my work is Epson printers. The ability to make exhibition quality wide format color prints in the studio is the greatest advancement since digital imaging editing tools, and, for me, completes the creative process. As an artist that expresses himself through a largely commercial format how do you balance the needs of the client while maintaining your own unique and distinct voice / style? I think for any artist it is necessary to stay true to your personal vision and to find unique ways to express yourself. Rather than adapting to a market I made the images that I wanted to make first and found the applicable markets next. Originally my work found a home in the music industry, and when advertising became more visually conceptual my work was applicable in that market. But, at the end of the day it's about the images, which I hope will stand on their own merits. Personally I am very pleased to see the evident gravitation to personal vision in the high-end of advertising. The line between fine art and commercial commissions are definitely blurred. How do you feel about the perception of commercially commissioned photographs in the fine art community? I think what's important is if the work stands on its own. The back-story is less important. Much of Michelangelo's most famous works were commercially commissioned for the Church. That was the advertising art of the day.
It's all personal. When I not working on assignments, I have countless images that I am working on, and I shoot a lot of landscapes that I will eventually use for backgrounds or fine art pieces. When I get the time I go back to my library of images to create new photo-illustrations. I also try to make time to work on limited edition prints. I've been finding gallery interest for my work and sell images at my online gallery, BlueChimp-Industries.com. What photograph of your own works most poignantly represents your career and why? It is difficult to sum up over 25 years of work with a single image. Certain images seem significant at the time they are created and others become more significant as time goes on. A few years ago I was on assignment for TIME shooting the paleontologist that is credited with discovering the oldest link between modern man and modern chimpanzees. In his research lab he has the largest collection of hominid skulls in the world, which I had the opportunity to create a still life with. These skulls represent the evidence of evolution including mutations and evolutionary paths that reached several dead ends, but also represent the changes that led to who we are today. In editing for my upcoming retrospective book and exhibition, entitled "25:25" I selected one image per year from the past 25 years. My personal criterion was to show the image that was most significant to me at the time. The image of the skulls, which I use in the intro of the book, and the start of the exhibition, has become a metaphor for my personal growth as a photographic artist. What would you say is the largest misconception about you? I think there are many misconceptions with any artist; others trying to fit you into pre-existing categories. Often you become identified with a single aspect of what you do. To some I'm a "surrealist" photographer, but to others my work is not surreal enough. Depending on who you talk to, I'm an album cover photographer, I'm an advertising shooter, and to others I'm a logo designer. In advertising it becomes so incredibly specific, but fortunately, it happens often enough that someone determines that my work is applicable, and finds the trust and confidence to award a commission.
I make myself available to speak at PhotoExpo each year. It's the only national conference that I attend, and I look forward to it. For me it's nice to meet and share with other photographers; I believe it's important to give back to the industry. It's also a good break from my own insular reality. Occasionally, I am asked to speak or exhibit at the photography schools. December 8, I'll be doing a presentation of my work at Art Center College of Design. You launched a retouching studio earlier this year, mode: imaging? Yes. mode: is a division of the studio that was created to extend our experience with high-end creative photo-composition and retouching. Given a 20 year background with digital post production, and the extremely talented digital artists that work here, creating mode: allows us to fill a unique niche in the market. It's a natural progression for the studio and people have been asking me to do something like this for years. We are working with a select group of photographers and agencies who want the very best. The company was formed at the beginning of the year and with only a little word of mouth, mode: has become phenomenally busy on some very high profile projects. Currently, mode: is working on nearly 200 images for the Nike World Cup campaign and several other ad and editorial projects. What are you currently working on ? My current commissions include a very cool international campaign for Pepsi. I'm very excited about the project; they are some of funniest and original advertising concepts I've seen in a while. I'm working on a CD cover, and we just finished projects for Sony and GM. I am putting the finishing touches on another book coming out next year, and there are more book projects in the development stages. Additionally, I'm making the prints for my "25:25" exhibition that opens November 18th at the Farmani Gallery in Los Angeles.* To view more of Glen's images visit his website: glenwexlerstudio.com *For more information on Glen's upcoming exhibit, please visit farmanigallery.com - Contributed by Paula Gould >> See more work from Glen Wexler>> See other member spotlights on the member spotlight index >> Find out more on how to become an altpick.com member |
