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Richard Konecky
In his landscape photography Richard Konecky draws on a number of sources for inspiration – the abstract geometry of Richard Diebenkorn’s Ocean Park paintings and the pure abstraction of monochromatic line in the paintings of Franz Kline; the flowing colour of traditional Japanese woodblock printers and water colourists like Hiroshige and contemporary photographers such as Edward Burtinski or David Burdeny. He has also had a longstanding interest in and passion for macro photography and the way it changes the reality of what you see. The deeper one delves into an object, the more it becomes something else: distilled form, light, shadow and shape.
Landscape Distilled
Richard Konecky’s Kenya photos are resonant of Paul Klee’s dictum “The intention is not to reflect the visible but to make visible.” The act of making visible, in this instance, is to delve into the reflected landscape and distil it to its very basic lines and shapes. By looking deeply, the reflected landscape becomes something else entirely.
This is what Richard Konecky sought to achieve in his landscapes of northern Kenya. At first glance, some will strike you as richly woven tapestries, soft and flowing watercolours or sensual abstractions with a painterly quality. Others might strike you as bolder, more colourful pieces of landscape, visual shards or sound bites. These images seek to change the way the landscape is seen and to strike an emotional chord.
Analogous Textures
Tulips
