I look for artistic raw material in natural, cultural, and built environments, focusing particularly on details that suggest meaning beyond the literal, the familiar, the snapshot. Like many other visual artists, my ambition in making art is to make the invisible visible, to use its medium and syntax to magnify and intensify perception. In the best images, there is a successful mixture of "speech" (the formal elements of design) and "story" (the revelation of creative meaning, "felt life").
I was a painter and printmaker before I became a photographer and, as a result, I attempt to make and judge my photographs just as I would any other two-dimensional artworks, adapting and applying the standards of design, history, and aesthetics I learned early on. As a young photographer, I studied Adams, White, and Weston, puzzled out the zone system and pre-visualization, and printed to the unexposed edge...a popular convention at the time... meant to show purity of vision and technical skill. Now, however, although I still do a significant amount of straight photography, much of my work is digitally post-visualized to reveal more about each photographic incident than pure photo printmaking would ever allow. However, as Gabor Peterdi, an early influence, said "Nothing is kinder to a poor drawing than a thin veil of texture." Accordingly, although many of my images are extensively manipulated, they do not swim in a pool of Photoshop effects.
I earned a BA in Art / Education in 1971 at Goddard College and an MA in Visual Arts / Photography from Goddard in 1975, followed by post-graduate work in Industrial Technology at Central Connecticut State University and in Computer Science at the University of Hartford. I have worked at the intersection of Art and Technology throughout my career and have taught Visual Arts, Photography, Serigraphy, Videography, Desktop Publishing, and Web Programming, as well as Computer Science, Technical Drawing, and Engineering Design.
Roger Leege's AutoGallery exhibit