It is said that environment is a key factor in producing art. For Canadian Kevin Spreitz, it is evident that his travels around the world have produced varying portfolios that allow him to creatively apply a unique vision based on time and place.
1. What were you trying to accomplish with the New York portfolio?
New York City is one of the most photographed places on earth. So I approached it as I do most of my work; to move through time and place with a good handful of images at the end of it. I think I am an adventurer at heart, and a close observer of life, intensely curious about everyone’s story in this world, so when I am walking with my camera, it is not only an instrument, a compass that points toward beauty, but a magnifying glass and journal as well. I wanted to have a collection of images that reflect that, and while they may not necessarily shout "NYC", they may whisper it.
2. You travel quite a bit. How does that impact your photography?
I see myself as a photographer who travels a lot, rather that a certain type of photographer. Being a stranger in a strange land always brings inspiration. So travel allows, the fresh eyes, a sense of wonder, curiosity, a a deep appreciation of how beautiful the rhythms of life can be, wherever I am, whatever the subject, and whether it is more of a fine art or documentary nature.
3. What are your goals for your coming European sojourn?
Quite simply, I hope to continue to develop my work and my presence in that area of the world. I hope to meet a lot of great people, see a lot of great photography and other arts. And yes, one of my goals is to become fairly fluent in Italian. I like the thought of not knowing what is around the corner, or what new muse I will find. I just consider myself so lucky to be living on what I absolutely love to do.
4. Your Black and White work seems quite different from your color images. What do you look for in Black and White subject matter?
While my preference is for Black and White, I tend to use colour when the subject is undeniably colour, or so integral to the image that it must be there. But as for Black and White, I mainly like a strong or compelling composition, and the narrative can be either ambiguous or very direct. I hope that viewers will put a bit of themselves in an image. The magic happens not in the photograph, but in the space between. As I tend to say, I document the world’s light, beauty, people, stories and issues, so whatever my heart and eye see, I am a helpless to that. I only want it to be compelling, to reflect my aesthetic at this moment, and it means nothing if people don’t get some sort of pleasure or joy out of it.
Visit Kevin’s site to see more of what he is talking about: Kevin Spreitz Fine Art