Lauren Breedlove, Greg Cuda, Adrian Lee and Arnela Mahmutović
October 9 - November 13
Chasing Light’ is a series of images meant to transport you to moments of magical light in various destinations around the world. I’m inspired by travel in general; diving into other cultures, wandering lonely streets at sunrise, exploring diverse mountain playgrounds, and the challenge of capturing animals in the wild. Light plays such a key part in art and photography; This series is a love letter to light...a collection of images where I caught Mother Nature in the act of putting on quite the show.
I will gladly trade sleep for dawn’s early wake-up call, midnight sun escapades that require back to back sunrise/sunset shoots, and the opportunity to get just a little further off the beaten path. I crave that pinch-yourself moment where you can’t believe what you’re seeing; if it’s real life or a dream. I love the way that location, light, weather, and time of day all creatively come together for a cocktail of cinematic goodness. I’m a chaser of light, camera in hand, always at the ready to have my breath stolen away while I pick my jaw up off the ground.
I enjoy calling sunrises and sunsets fancy things like “first blush” and “sundowner hour.” I swoon over layers of watercolor hues in the sky, a surreal glow on dramatic landscape, pristine reflections, and feeling like I’m at the edge of the world. Whether it’s a cloud inversion on a craggy mountain top, a dusty road highlighting early evening’s sun rays, or an illumination of medieval stone buildings as a city wakes up, I’m there for it.
For every seemingly “perfect” capture where the weather and rays worked together in harmony, there are plenty of “fails” where I hiked in the dark to be socked in with fog, the wind blew over my tripod and cracked a lens, or my stomach hurt from eating something foreign and I had to abandon the photo mission. These moments make the triumphs that much better, and yes, those have all happened.
All of these feelings? I’m just trying to convey them through imagery, sharing the way that I see the world. They are proof that places like this exist and I’ve somehow been lucky enough to have them woven into my story. If what I’ve created can transport, inspire, or evoke any sort of emotion, then I guess I’ve done my job.
Combining my love of music, luthierie and photography, Seldom Scene is a journey deep inside the musical world, this series of photographs exposes the innerworkings of the instruments we love. Often dramatic, moody, and even surreal, the images capture the imagination.
The series spans three centuries of technology from a hand carved cello constructed in the late 1700’s to the use of contemporary High Dynamic Range (HDR) digital photography.
Growing up as the son of immigrants, I experienced immense poverty. I felt like I was living in a society where I didn’t matter. Graffiti gave me an overwhelming feeling of purpose as well as a profound sense of being connected to my surroundings. I was fascinated by how someone could become an overnight celebrity, while at the same time no one really knowing who they are. The whole objective of graffiti is more. It’s about having a name and wanting to see it everywhere.
For me, the very essence of painting is singularly personal. I believe biographical moments or instances, although anecdotal, establish a strong connection with the viewer the same way in which biographical literature does. I correlate my experiences and memories by transcribing them through mark-making to create a vulnerable sensation that the viewer can connect with. My mixed-media paintings act as memoirs, imbued with urban undertones that originate from background as a graffiti writer. Like graffiti, my work is an acknowledgement and reverberation of my existence distilled in images of myself, muses, and memories.
My technical process focuses on the augmentation of form, compartmentalized patterning, compositional balance, and integration of media. Utilizing thousands of reference photos that I have compiled over the years, I map out compositions that are then broken down into sections of painting, drawing, and collage. I then repetitiously arrange each medium in a sequence obscuring the elements that are painted and the ones are adhered. This allows the materials to transform the work into something unanticipated or preliminarily unimaginable. The practices of drawing, painting, and printmaking fundamentally influence how I deconstruct and re-render an orchestrated or observational reference photo to create a stylized, yet realistic atmosphere within the context of a painting.
As a first generation Bosniak-American, I analyze my traditional upbringing within Western society to create a platform for dialogue and contemplation. Drawing inspiration from illuminated manuscripts, contemporary imagery and personal narrative, my work is a continued investigation of the histories that surround me.
I create worlds in which my figures can “live”. The figures in my paintings represent a collective body defined by culture. While I use myself as reference in much of the work, they are not meant to be seen as self-portraits. The women depicted are an extension of my experience, but they are equally informed by specific people in my life, as much as by a collective history. The bodies in my work are bound by both cultural and painterly histories, similar to Bosniak diasporas, scattered in different locations around the world, but connected by the customs and traditions of their homeland.
Juxtaposition and experimentation guide my process as I sample imagery and painting histories that are at the crossroads of cultures. The result is an intimate and shifting relationship between displaced bodies and invented spaces; constructed worlds in which each live as agents of their own narrative.
Saratoga Arts' programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.