ArtographyArtography is about recognizing the moment and being able to capture that moment as we experience it through our perceptions and senses.
Artography is appreciating the beauty and substance of what we can see and our ability to translate this beauty for others.
It is not enough to have an interesting subject, or to maintain sharp focus, or to calculate the perfect exposure—one must also be able to see a composition within a scene, to visualize it.
All art, photography being one of its forms, is organic and always growing. It is the source of light and space, two essential qualities that determine what kind of growth occurs. Capturing the essence of a scene in a single instant—that which emerges from the chaos at a construction site or a night walk in the City—is what I find most rewarding.
The challenge is not in depicting the forms but in recognizing the totality of the image. Magically infusing power into small incidents. Transforming everyday objects and moments into icons. A natural street abstraction of light and shadows. The blurring of what is and is not. To infuse my Artography with the magic of romanticism whenever possible.
Minor softening and darkness of color. I like the way color blends, the image is painterly and atmospheric; more poetic, perhaps, than a digital image; lyrical rather than analytic.
All art is supposed to wake up emotions. The most important part is that there is no stipulation on whether such emotions are positive or negative. The only requirement is that they must be. There are always many points of entry.
A Personal StatementI enjoy the fact that everything is not in my control, that chance plays an enormous roll in what I do. My digital darkroom gives me wondrous anticipation and experimentation. Many blur the line between dream and reality. The super-sharp, detailed color images that have dominated my profession feel more like tourist postcards. I prefer images that are far more enigmatic. I'd rather escape the world in which every aspect can be rigorously and technically controlled. It’s a way of preserving my artistic sanity. I don’t know that I like having too many choices. Being right can stop all the momentum of a very interesting idea.
I am an artographer based in Las Vegas/New York City. I am not a decisive-moment photographer. Serendipity is a very powerful thing. I’m not a voyeur, but I like catching people in their own little world, without interrupting them.
I have not developed an instantly identifiable photographic template that would turn every situation into another “Santi Acosta image.” There is no recognition to my style; there is only me.
Desert LifeI marvel at the sense of well-being that this vast landscape induces in me. All is massive, singular, and soft under the canopy of massive clouds and blue sky. I’ve never seen a more spiritual place than this. The native people of this land have a much better understanding of what is faith than anything I have ever seen. They truly believe in the circle of life, not the straight line that Western religion has put its focus on for over 2,000 years.
BiographyIn the Permanent collection of Bill Hooper.
Head archivist for Life magazine/Time Warner Japan Expo, Aichi: 2005
Japanese World Expo 2005. World's Fair Exhibit of Am
erican artists and photographers in the USA pavilion, the Commissioner General's VIP Room for visiting dignitaries.
March - Sept 2005
Queer Eye for the Straight Guy: 2005
Photography used in Reality TV show for interior makeover of New Jersey bachelor home.
Episode 151: Brian M.
Designer Gallery. Bethesda Maryland 2004
Solo show: Forest Glen Seminary Photography
Here Is New York: 2001-2005
911 Group Photography exhibit in Soho. Exhibition toured the USA and other countries.
Now in the permanent collection of the New-York Historical Society.
The Day the Towers Fell. 2003.
Discovery Channel Special 3rd anniversary documentary on 911.
Nominated for an Emmy.
Group photography show at the LOLA restaurant on 22nd Street. New York City