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TPS > Texas Photographic Society

Portfolio Competition
Member's Online Photography Gallery

TEXAS PHOTOGRAPHIC SOCIETY
Member's Online Photography Gallery
Portfolio Competition – February 2011

Selections made by Chris Bennett, Founder and Director of Newspace Center for Photography in Portland, OR.


Emerging Artist


Don Norris

Don Norris – Hattisburg, MS
Not of Our Time

To view a gallery of the exhibit.

I am a retired university professor. Originally from the midwest, I live in southern Mississippi.

I like to photograph quiet landscapes and still lifes. I try to capture the way the light falls in a photograph, and later in a print. My photographs, most of which are B&W, tend to be literal, precise, and formal and to as closely attend the nature of the light as they do form or color.

My work is in public collections in Mississippi and in many private collections.

Not of Our Time:
Ten Antebellum Meetinghouses

Over the past three years, I have rambled the countryside of Alabama and Mississippi to photograph Protestant meetinghouses that were built before the Civil War. Few of these structures remain. All are rural or in tiny towns that have somehow persisted since the time of Andrew Jackson. Nearly gone from the southern landscape, these elegant, one-room churches are distinctive historically and architecturally. They make a compelling subject for a portfolio.

They were built when the Old South was at its economic high-point, a time that is recalled by its elaborate plantation homes. However, these meetinghouses were designed with great restraint. The architecture, sometimes as stark as an Athenian temple, was informed by a strong Calvinist sense of order, simplicity, and austerity. Large, clear-glass windows illuminated sanctuaries that, even in the largest churches, were strikingly spare — of planed boards floor to ceiling and wholly without adornment. Two front doors separated men and women, a reflection of Victorian sensibilities. Today, generations of tall headstones mark most of the churchyards.

Sadly, this remarkable integrity of form was lost after the Civil War. This non-indulgent kind of beauty, a precise and dignified plainness, has otherwise disappeared in southern churches.

In my documentation, I wanted to make suitably formal photographs of these formal places of worship. I photographed each church within its own landscape, but I made no intimate probings of the sanctuaries, and I avoided the usual southern iconography. I believe the resulting images are as upright and matter-of-fact as the meetinghouses themselves.

 


 

Mid-Career Artist

Keith Prue

Keith Prue – Boston, MA
Magical Thicket

To view a gallery of the Exhibit.

Born and raised in England, Keith Prue has lived and worked on four continents and traveled to more than forty countries. Keith was introduced to photography in his early teens, and after a hiatus of many years, his passion was rekindled while attending workshops with Ernesto Bazan. He has also studied with Ben Lifson and Aline Smithson. Keith resides in Boston.

In my formative years, I was intrigued with capturing events with my camera. Inherently visual, creative, and numerate, I was drawn into polar worlds of art and business. For many years a happy confluence arose from these seemingly discordant traits. Given the extraordinary opportunity for travel that working for an international finance firm allowed, I delighted in recording my world through pictures, as it unfolded and expanded over many countries and continents.

More recently, I have taken to capturing my world from a deeper place, the passage of time waking my quest for the truth of existence. Unlike earlier photographs, my current work acts as a conduit to explore my humanness. This gives me license to engage life outside the studio in all its rawness.

When I’m looking through the lens, alive to the anticipation and excitement of seeing anew, there is a mysterious convergence of my inner and outer worlds, and I'm drawn into a meditative state. Any preconceived ideas I may have about conveying meaning merely act as signposts or pointers, rather than rigid constructions, to be discarded during this moment of wonder. Completely present to events unfolding in front of me, I feel the thrill of connecting with a totally unique manifestation of life never to be repeated.

Magical Thicket

The south of India is a magical place. There is a daily bustle of people, sacred cows, stray dogs and more dogs, alive on almost every street corner seemingly day and night, plying their trade open to view and freely shared. Highways vibrate with bicycles, auto rickshaws and buses transporting goods and chattel, filling the air with a cacophony of sound and choking fumes.

I have been visiting Tiruvannamalai and the coast of Tamil Nadu since 2005, and during my visits I am drawn time and again into the thicket of this world, my senses overrun by the fullness of life, transporting me far from my western roots. I was initially attracted to this part of the world due to its deep spiritual beliefs. Mount Arunachala in Tiruvannamalai considered a holy mountain and pilgrimage destination for Hindus.

Magical Thicket is an ongoing project reflecting the contradictions I feel about India. When there, the assault to western senses can be overwhelming and the thought of creature comforts appealing, but when departed, the memory of magical sounds and senses draws me back in like a bee to a honey pot.

 


 

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Texas Photographic Society (TPS) publishes and exhibits members’ photographs in print, online and in photography exhibits thoughout the U.S. and Europe. TPS membership includes photographers ranging from students to dedicated professionals. Together, they share an enthusiasm and dedication to fine photography.


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