Photographer’s Statement
For this series on the universality of humanity, I seek dynamic or interrelated movements of people within the depth of physical space. There may be the pulse of youthful freedom and exuberance, which adds spontaneity or joy to the captured moment; conversely, there may be a sense of reflection by the subject.
I aspire to share more about the cultural or social conditions I encounter, to demonstrate incredible and fascinating richness of the human experience on this planet. It’s important to present these scenes with honesty, to thereby bring to light some of the subjects’ challenges and nuanced reactions. The angle at which the scene is captured is important to me. I strive for viewpoints that often appear in my dreaming state: floating somewhat above, sometimes even at a great distance, but still connected to the moment.
All titles are deliberately undated, to blur the zeitgeist. I am often drawn to ambiguity of event or action, for I believe questions are often more enlightening than answers.
[Images are exhibited at least 51 cm (20″) wide and most originated on medium format film.]
| Link to book The Human Pulse (2022 edition) | Series Commentary/Overview Video (2023) |
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| Excerpt of 2009 Lecture at the Turner Art Center | Remarks at Chelsea Art Center Exhibition opening (2023) |
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Photographer’s Statement
While wandering around Oaxaca, Mexico in the early ‘80s, I became aware of the subtle but perceptible emotions that the faded adobe and stucco walls exuded. Thus began the “Walls/Spaces” series. Not only did these walls provide a cultural and geographical referent, but they often offered a metaphor that transcended their place and time. I immediately appreciated the sense of timelessness I discovered and believe it is this which allows these scenes to become universally appealing.
Ancient peoples and present indigenous societies have always believed that life is everywhere––even in inanimate objects. This series vivifies that timeless mindset. I find it both challenging and rewarding to draw inspiration from objects and areas taken for granted by passers-by. And if walls and outdoor spaces are often “open” in the sense of public exhibition, they are also open for interpretation.
The series is divided into two parts: Metonymy and Milieu. The former is a figure of speech that uses the name of an object or concept in place of another relationship. In the latter part, the documentary aspects of the milieu in the photos override the metonymy.
A wall is an obstruction; or a bridge; or a window. Upon her face are etched the marks of man: quotidian efforts, birth, war, decay. The family of walls includes sister fence, brother stone and the sundry open and confined spaces. I enjoy looking at and presenting the myriad permutations of this theme. Sometimes a metaphor springs to mind, or simply a reflection of conditions– of mine, time and the anonymous Others. The walls and spaces I ultimately choose to interpret are the ones that speak to me.
Photographer’s Statement
This was Elliott’s earliest complete series and the first one he pursued in depth. He discontinued the series after just three years, later stating, “We are all victims at some time. I became increasingly concerned that in many image, I was biasing perceptions of the subjects. But the series remains an cogent example of the fine line between documentary and interpretive photography.”
Some of the images were an entrée into the subsequent and more fully-formed “Human Pulse” series. The visual influences for “Victims” includes photography of Diane Arbus, Weegee, and Ralph Eugene Meatyard. It was shot in black-and-white film and all images were traditionally darkroom printed.
Photographer’s Statement
Elliott’s scenic, commercial, and portrait images have been published since 1978 in numerous magazines and have garnered international awards.
Photographer’s Statement
GHOST RIDERS: An introspective series photographed and digitally enhanced from 2017-2019,
empathetic to the quotidian experiences of passengers on Washington DC public transportation.
Photographer’s Statement
In December, 2021, John traveled throughout Cuba for nearly a month, documenting the challenges facing the people there as they bravely tackle COVID-19. The pandemic has exacerbated the woes brought on by a decades-old economic blockade by the United States, which has continued to impoverish the island nation of 12 million.
Photographer’s Statement
John trained as a portrait photographer for six months in 1980, working at Bryn-Alan Studios in Tampa and Coral Gables, Florida. His ability in portraiture was subsequently employed on projects on various occasions, from the US Army in the ’80s to the US State Department in the 2000s. He only dabbled in fashion photography, however.
Photographer’s Statement
At age 15, John documented the Democratic and Republican conventions in Miami Beach, Florida. This experience was a foundation for his life-long love of photography and the art of story-telling through images. Negatives were developed and prints made in his bedroom closet, converted into a makeshift darkroom. This series was first exhibited in its entirety in 1978 at Ohio’s Baker Center Gallery.
The Human Pulse
Photographer’s Statement
For this series on the universality of humanity, I seek dynamic or interrelated movements of people within the depth of physical space. There may be the pulse of youthful freedom and exuberance, which adds spontaneity or joy to the captured moment; conversely, there may be a sense of reflection by the subject.
I want to know more about the cultural or social conditions I encounter and strive, through my selection of venues and scenes, to capture the interest of the audience. In some of the images there is an ambiguity of event or action, which elicits curiosity. I believe questions are often just as important as answers.
The angle at which the scene is captured is important to me. I strive for viewpoints that often appear in my dreaming state: floating somewhat above, sometimes even at a great distance, but still connected to the moment.
(Images are exhibited at least 51 cm (20″) wide and most originated on medium format film.)
See excerpt of Photographer’s 2009 Lecture
Walls and Spaces
Photographer’s Statement
While wandering around Oaxaca, Mexico in the early ‘80s I became aware of the subtle but perceptible emotions that the faded adobe and stucco walls exuded. Thus began the “Walls/Spaces” series. Not only did these walls provide a cultural and geographical referent, but they often offered a metaphor that transcended their place and time. I immediately liked the sense of timelessness I discovered and believe it is this which allows these scenes to become more universal.
Ancient peoples and present indigenous societies have always believed that life is everywhere––even in inanimate objects. This series vivifies that timeless mindset. I find it both challenging and rewarding to draw inspiration from objects and areas taken for granted by passers-by. And if walls and outdoor spaces are often “open” in the sense of public exhibition, they are also open for interpretation.
The series is divided into two parts: Metonymy and Milieu. The former is a figure of speech that uses the name of an object or concept in place of another relationship. In the latter part, the documentary aspects of the milieu in the photos override the metonymy.
A wall is an obstruction; or a bridge; or a window. Upon her face are etched the marks of man: quotidian efforts, birth, war, decay. The family of walls includes sister fence, brother stone and the sundry open and confined spaces. I enjoy looking at and presenting the myriad permutations of this theme. Sometimes a metaphor springs to mind, or simply a reflection of conditions– of mine, time and the anonymous Others. The walls and spaces I ultimately choose to interpret are the ones that speak to me.
Ghost Riders
Photographer’s Statement
GHOST RIDERS: An introspective series photographed and digitally enhanced from 2017-2019,
empathetic to the quotidian experiences of passengers on Washington DC public transportation.
Global Vistas
Photographer’s Statement
Elliott’s scenic, commercial, and portrait images have been published since 1978 in numerous magazines and have garnered international awards.
Victims Series
Photographer’s Statement
This was Elliott’s earliest complete series and the first one he pursued in depth. He discontinued the series after just three years, later stating, “We are all victims at some time. I became increasingly concerned that in many image, I was biasing perceptions of the subjects. But the series remains an cogent example of the fine line between documentary and interpretive photography.”
Some of the images were an entrée into the subsequent and more fully-formed “Human Pulse” series. The visual influences for “Victims” includes photography of Diane Arbus, Weegee, and Ralph Eugene Meatyard. It was shot in black-and-white film and all images were traditionally darkroom printed.
Cuba in the COVID Era
Photographer’s Statement
In December 2021, John traveled throughout Cuba for nearly a month, documenting the challenges facing the people there as they bravely tackle COVID-19. The pandemic has exacerbated the woes brought on by a decades-old economic blockade by the United States, which has continued to impoverish the island nation of 12 million.