Multiple Perspectives, 2015

MULTIPLE PERSPECTIVES

a delson Galleries Boston presents an exhibition of photography featuring three artists: Clint Baclawski, Tristan Govignon, and Dan Peterson. Each has a formal education in photography and pursues this medium with a passion. The artists have different aesthetics and goals; however, the common thread among the three is their desire to express an alternate view of reality. a lfred Stieglitz famously said, “In photography there is a reality so subtle that it becomes more real than reality.” The pieces on exhibition are proof of technology’s capacity to allow artists to capture life in a way that the human eye cannot see. These artists have directed their lens to distort, magnify, or focus on subjects that allow the viewer access to another world.

Dan Peterson

Dan Peterson (b. 1957) is an artistic photographer with a background of over 25 years in advertising. He received his B a in art photography and journalism at Drake University (Iowa) in 1980, and then went on to practice sculpture, drawing, painting, and design in Italy and around the United States. a former a ssociate Creative Director with Tinsley a dvertising in Miami, Peterson specialized in hotels and resorts; notable campaigns include Sandals Resorts and the SuperClubs Resorts. a t the same time, Peterson continued his passion as an artist – producing sculpture and photography.

a s a visual artist, Peterson is interested in the expression of abstract ideas through organic shapes found in nature. He is native of South Florida, but recently began working in the Berkshires part of the year to experience a different environment, which in turn shaped his artistic vision. Instead of combing the beach for rocks or shells that inspire him – as he has done for many years, he forages for mushrooms in the woods. These small organisms that inhabit the forest floor are hardly visible among the dense timbers and leaves, yet when spotted, they pop with rebellious hues. The artist finds the most beautiful specimens along his daily walks, then isolates, photographs, and enhances them to a human-scale – allowing viewers to admire their microscopic intricacies. The artist feels that we are connected to these beautiful organic shapes, and cannot help but see ourselves in their forms.

Lone Red Shrrom, 2013

Tristan Govignon

Tristan Govignon (b. 1970) is a multifaceted artist who works in varied media and techniques to achieve powerful two and three-dimensional artworks. Govignon trained at Tulane University and abroad in Paris, then worked at the Center of Creative photography (19911994) and received his BF a in combined media from the University of Tucson in 1994. a ll the while, learning techniques, developing an eye, and assisting other photographers. In 2010, he received a Professional Digital Photography Certificate from Boston University’s Center for Digital Imaging a rt. His fashion photography has been featured on the cover of the Improper Bostonian, Edge Magazine, and appears in several other editorials. The artist has been selling and exhibiting his art photography for the past twenty-five years, and continues to support himself as a professional artist.

a s a fashion photographer, Govignon learned to present people and places in a way that captured their natural beauty, while as a painter, he found a more open avenue for expression. The artist will often create oil paintings of people based on the photographs he has taken. Sometimes, his oils blur reality to the point of abstraction. More recently, Govignon has taken this unfastened approach that he applies to painting with his camera. w ith a painter’s eye, he finds and captures moments of ambiguity – playing with texture and color, combined in unlikely places. The photographs are not filtered or digitally augmented; rather, he captures painted surfaces with the right amount of light and timing. The result is a glimpse into the mind of the artist, whose perspective of beauty is often found where ordinary life meets abstract art.

Untitled VI, 2015

Heat Transfer Photography on a luminum 36 x 24 inches

Untitled III, 2015

Heat Transfer Photography on a luminum 36 x 24 inches

Untitled VII, 2015

Heat Transfer Photography on a luminum 54 x 36 inches

Untitled IV, 2015 Heat Transfer Photography on a luminum 36 x 24 inches

Untitled I, 2015

Heat Transfer Photography on a luminum 40 x 40 inches

Untitled II, 2015

Heat Transfer Photography on a luminum 40 x 40 inches

Untitled V, 2015

Heat Transfer Photography on a luminum 36 x 24 inches

Clint Backlawski

Clint Baclawski (b. 1981) explores photography with a scientific curiosity. He presents his imagery with a range of media, pushing the limitations of photography: from large-format digital prints to light boxes, and more recently, composited images wrapped around light tubes. Clint has always maintained an interest in camerawork. a fter receiving his BF a in a dvertising Photography from Rochester Institute of Technology in 2004, Clint went on to complete a Post-Baccalaureate Study at Bucknell University, and then received his MF a in photography from the Massachusetts College of a rt and Design in 2008. Immediately after graduation, Clint became an instructor of photography and lab manager in the Technology Department at Mass a rt – where he continues to work today. He has consistently exhibited his photographs around the n ortheast for the past decade, but has recently received more widespread recognition. Several new works were featured in the inaugural a lternative Photography Festival in Edinburgh, Scotland, this past summer, and he has a solo exhibition planned at California Polytechnic State University in San Luis o bispo, C a before the end of 2015. a long with Clint’s participation in this current group exhibition, Multiple Perspectives, a delson Galleries Boston will have a solo-exhibition of the artist’s light bulb series in June, 2016.

The Shangri La series implies a past when the photographer set out to capture the vast a merican landscape. The series also comments on a present phenomena of how many a mericans rely on the viewfinder of a camera or phone to absorb what they see in front of them – especially something sublime.

Zion, 2013 HD C-Prints 22 x 30 inches

Shangri La, 2013

MULTIPLE PERSPECTIVES

Dan Peterson, Small Red Yellow, 2013

HD C-Prints

40 x 28 inches

Tristan Govignon, Untitled I, 2015

Heat Transfer Photography on a luminum 40 x 40 inches

Tristan Govignon, Untitled VII, 2015

Heat Transfer Photography on a luminum

54 x 36 inches

Clint Backlawski, Promised Land, 2013 HD C-Prints 22 x 30 inches

Dan Peterson, Lone Red Shrrom, 2013

HD C-Prints

72 x 36 inches

Tristan Govignon, Untitled II, 2015

Heat Transfer Photography on a luminum

40 x 40 inches

Tristan Govignon, Untitled IV 2015

Heat Transfer Photography on a luminum

36 x 24 inches

Clint Backlawski, Shangri La 2013 HD C-Prints

22 x 30 inches

Dan Peterson, Skinny white 2013

HD C-Prints

44 x 22 inches

Tristan Govignon, Untitled III, 2015

Heat Transfer Photography on a luminum

36 x 24 inches

Tristan Govignon, Untitled V, 2015

Heat Transfer Photography on a luminum

36 x 24 inches

Clint Backlawski, Zion, 2013 HD C-Prints

22 x 30 inches

Tristan Govignon, Untitled VI 2015

Heat Transfer Photography on a luminum 36 x 24 inches

Clint Backlawski Tristan Govignon Dan Peterson