Tuesday, February 5, 2013
Creating other-worldly images that blend Photoshop with film-based darkroom techniques
|This Article Features Photo Zoom|
"When I went to Art Center," she says, "I kind of wanted to do fine art, but it's a very commercial school. So I learned all of the commercial stuff and just kept doing fine art on the side. Then when I came out of school, I was doing a lot of album covers—that's where I started—and it evolved into more advertising. Now it's mostly editorial and some advertising."
Cutting's work should be familiar to listeners of Kenny Loggins, Bonnie Raitt and Patty LaBelle who, among others, have featured her photographs as album covers. Readers of TIME, Science and The Washington Post have seen her work on those covers, too. She's clearly a master of precision when it comes to crafting her "whimsical" commercial photographs, but with personal work she's free to move away from the rigid technical requirements of client work into a more freewheeling space.
One personal project, in particular, is instantly recognizable for its dreamy, textural quality. She thinks of this grainy, dreamlike series as "other places," images of man and his journeys.
"I don't really have a name for it yet because I feel like I need more images," she says of the body of work, which she has been building for a decade. "I feel like there's a common thread of man and machines that he has created to travel. It's sort of otherworldly. It's a little dreamy, it's a little mysterious, it's a little bit fable. It's a little on the darker side, too."
The fine artist's prerogative is to create work that asks more questions than it answers. Aside from being her own art director, though, creating artwork is an entirely different experience than when she's photographing on commission because of the room for open-endedness. Commercial work, she says, is very much about delivering a fully formed equation in which A plus B equals C.
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