In photography, we flow in the moment and our perceptions traverse us in the opposite direction. Photography is temporal in nature, in that things present themselves to us and our interpretations of them vary continuously. Even in the studio, where the photographer supposedly has full control, no frame is the same as the previous or subsequent frame. As such, a photographer is given only once chance in that moment. On the other hand, painting is not temporal; its discourse is based on superimposing perceptions. In that sense painting as an art form removes the element of time from the equation. To put it bluntly, photography is a live conversation with a moment, and painting is a series of conversations within our sphere of life.
Expressionism in photography may sound like a misnomer, but it is possible. And I think to a degree, I can identify myself with it. Often, nature presents itself in complexity that in most ways does not look much different than a painter’s extremely fast work on canvas. It reveals feelings and emotions, expressing gesturally, sometimes with large brush strokes, sometimes dappling with dripping paint onto canvas. The end result is characterized by a strong dependence on what appears to be accident and chance. It is up to the photographer to spot and seize the opportunity. As a side note, my work differs, perhaps, from the typical expressionism by its anchor where subject matter firmly establishes itself. There is no effort on my part to escape from the representation of the subject.