ARTIST’S STATEMENT

“The genesis of the Chrome Allusion process was one which went beyond merely eliciting an emotional response and aimed instead at the spiritual in art. In expressing the spiritual, I bring out an infusion of energy pulsating through, in and around my imagery thus giving each creation a life of its own. The energy principle is best stated by Maholy Nagy's Vital Construction Theory, "Vital construction is the embodiment of life and the principle of all human and cosmic development. Transposed into art it now means the activation of space by dynamic-constructive systems of energy, i.e. the inter-construction of energies actually opposed in physical space, and their construction into space, which likewise functions as energy. Chrome Allusion is about energy composed in such a way that the viewer senses in the work an embodiment of life on a rhythmical scale.

Chrome Allusion suggests a fresh approach to harmony in that it appeals through color, form, rhythm and void to the sixth sense we all possess yet seldom utilize. The void is the spiritual emptiness in our beings that demands to be filled. I liken it to the eye of a tornado. The exterior of the tornado moves all in its path with great force and chaos. The eye, on the other hand is where all controlling force subsides and all is at peace. Its exterior has no control over the eye yet the very nature and fabric of the tornado is dependent on its influence. The same is true with the void in our beings. We are conscious of its presence but we have no control over its influence. Yet, we can experience through this void the spiritual connection of all things and assimilate this into our daily lives, and in the process we begin to fill this space.

I like to challenge the viewer's psyche through presenting the unknown. I combine the animate with the inanimate because we are inseparable from our environment and the energies that impact upon us. I use several unrelated images to create one harmonious Chrome Allusion, which is a unique in form. Each work is made with no preconceived notion as to what the final image will become. 35mm transparencies are manipulated in every conceivable way to produce spontaneous textures, colors and forms. Using chemicals I can alter consecutively the color layers of the transparency on an entire or localized region. Other means like etching and burning also aid the creative effect. I try to bring forth new forms of nature as opposed to recording nature like orthodox photography. My nudes, for example, may subtly transform into what appears to be a wall of peeling paint, or fungi may emanate from the surface of a woman's body.

Color is extremely important to me because it can evoke certain elements in our psyche. By varying intensities and contrasts a spiritual vibration is set up which can generate new awareness in the viewer. On a simple level, colors such as red might denote qualities like will power, freedom, vitality; action while blue could reflect love, spiritual enlightenment, gentleness etc. If those qualities are accessed in the artwork the viewer should relate to the work on more of a spiritual and psychological level rather than merely emotional. It is important that my creations are contemplated in an analytical manner in order to really appreciate them. It is important that the viewer receives a harmonious experience. After all, the viewer is the end-product and the goal of art is the stimulation of the imagination.”

PROFILE

Stephen Burns has discovered the same passion for the digital medium as he has for photography as an art form. His background began as a photographer 22 year ago and in time, progressed toward the digital medium. His influences include the great Abstractionists & the Surrealists including Jackson Pollock, Wassily Kankinsky, Pablo Picasso, Franz Kline, Mark Rothko, Mark Tobey, and Lenore Fini, to name a few.

Stephen Burns has been a corporate instructor and lecturer in the application of digital art and design for the past 7 1/2 years (See Resume). He has been exhibiting digital fine art internationally at galleries such as Durban Art Museum in South Africa, Citizens Gallery in Yokahama, Japan, and CECUT Museum Of Mexico to name a few. Part of his exhibiting won him 1st place in the prestigious Seybold International digital arts contest.

He is the founder of D5 Digital Visionaries and the current president of the San Diego Photoshop Users Group. Stephen is also the digital lecturer and instructor of the San Diego Natural History Museum, he is the Photoshop instructor for the Shutterbug digital workshops as well as an instructor of photography at UCSD Craft Center Extension. Owner of “Burns Graphics Design,” he makes his living in corporate training and teaching workshops in the use of digital graphics in business applications. Stephen ’s expertise also extends into 3D animation and digital video special effects editing on which he also produces educational tapes and DVDs.

Stephen is the Photoshop instructor for the nation wide digital workshops sponsored by Shutterbug Magazine. He teaches these workshops in locations like Taos, New Mexico; Arches, Utah; Yosimite Valley; Adirondacks, New York and Sanibel Island, Florida to name a few.

On the fine art level, Stephen has organized exhibitions with galleries and artists from South Africa, Europe, Mexico, and Switzerland. He is currently on a subcommittee for the prestigious Siggraph Convention setting up exhibitions that will include the use of the Internet and traditional venues to house exhibitions in digital art forms. Stephen’s own work has been exhibited in numerous solo exhibitions, traveling and group exhibitions, and has been widely published.