Q&A with photographer Palma Brozzetti, Frederick photographer among those showing in ‘Grayscale’

Originally published December 20, 2012 By Katie Crowe
News-Post Staff

The wind tackles the beach. Squabbling gulls lift, glide then return to a battered pier as if tethered.

Driving through Toronto left me no choice but to careen into the torpedo of traffic fighting for custody over ten southbound lanes.  Eventually, vehicles scatter off the QEW.

I followed my inner radar to water and sky and take refuge along the shore of Lake Erie towards the town of Dunkirk, NY

    Interpreting art work is an education in visual art and in the artist. For several years I've been photographing artist's portfolios and have found that each experience is a report card in adapting to venue, element and content changes that spark compounding menus of technical strategies and aesthetic awareness that can be applied to other photography experiences.

     As a painter and a yogi, Marion Griffin's world overflows with art and inner peace mingled with candid fun and open communication. Her abstract work is an autobiography of her natural self in lively palettes, textures and compositions.

     I have grown to appreciate the difficulty of creating ongoing abstract work with such diversity of balance in design and color as Marion does. I have been able to guess which of her work will sell or which one her agent will choose for a promotional piece. This has encouraged professional trust and a "pick up where we left off" relationship.

    Ceramics and photography are two of my favorite art forms and both worlds meet in Shelley Stevens' ceramics studio.

     Her found driftwood treasures inspire platters, baskets, vessels and magical teapots to be choreographed around them. Patient slip trail or stamped designs on goblets reach for my hand. Earthy vessels (she calls glaze experiments) have been adding up on my shelf; addicting little personalities I occasionally rearrange - infinite landscapes at my command.

     A super challenge this summer was photographing handmade guitars by Wes Lorber of Gravitas Guitar Works.

     Though I have a background in music (mostly piano) I don't know much about guitars except what they look and sound like. I also don't know how my camera and I managed under 100+ degree weather and drenching humidity (digital downfall). With a diffusing umbrella and a black backdrop we worked up ideas. I saw Wes' instruments as a family of sculptures while he pointed out the importance of wood, grain and the essential details of his craftsmanship.

     The response to this body of work was tremendous (my favorite sold!) and I now have an appreciation for the art of luthiery.

    By photographing art work (as an artist myself) I'm lucky to be able to bask in aesthetic connection with the artist, their work and my self. Seeing how we artists must have our work portrayed as close to our intent as possible, it's such an honor to be asked do this.

   The original West Virginia Farm Road, a Polaroid Time Zero Manipulation piece, has found a home. It sold at The Artists' Gallery Small Works + Big Hearts exhibit this weekend.

   Ten percent of all Small Works sales will be donated to the Frederick Community Action Agency.

     Who needs a tree when this is the view! (from my studio)

If you're in Montgomery County before December 26th, turn into the Strathmore Mansion on Rockville Pike to see their Grayscale exhibit. I have work in there going up the main staircase. While you're upstairs you will also see an exquisite small works exhibit - a juried display of hundreds of tiny paintings (you can use their magnifying glass for viewing) - a true intimate art experience.