Waterline, Makonikey, 2018 by Michael Stimola
Michael Stimola
Michael Stimola is largely self-taught and has been making photographs for the better part of a decade. After studying at the International Center of Photography and the School of Visual Arts in New York City he set out to define his photographic vision through experimentation and the close study of the work of other photographers. His work explores the play of memories, associations and expectations in everyday visual perception.

He has shown his work in Massachusetts, New Jersey and New York and is represented by the Field Gallery in West Tisbury, MA. He is a winner of Color Magazine’s, 2009 Portfolio Competition and is profiled in Issue # 8, June 2010. Additionally, a portfolio of his black and white photographs was selected for an Excellence Award by Black & White Magazine and is featured in the June 2010 Portfolio Contest Awards Special Issue # 76, June 2010.



My photographs are typically not literal depictions of physical places and objects; they are subjectively infused with remembered and imagined ones.



When I’m photographing, I frequently don’t have a firm plan even if I have a destination in mind. The longer and closer I look, the more I see as I walk around or stand quietly still, remaining receptive to what my surroundings offer my senses. My mind’s eye wanders too. Memories and imaginings gather, the works of other artists are recalled, Pictorialist photographers and American Tonalist painters, in particular. And, as many times as I experience a locale, there are an equal number of ways to interpret or reimagine it photographically.



It’s said that painters must decide what to add compositionally to their work, and photographers what to leave out. My process allows me to selectively add, however subtly, when I feel the addition completes what I want the photograph to convey. Beyond the consideration of composition, lens and exposure settings, I may fog or smear a lens filter or pan or gently shake the camera to alter the image I capture. In the process of making the final photograph, I often use techniques that include combining multiple images – more than one photograph or scans I have created. All of these interventions represent, for me, the multiplicity of ways a place or subject may be experienced and interpreted.



All of the photographs for 2018 include water in its various Vineyard locations and forms - the ocean and ponds, ice, snow, rain and fog. Naturally, it’s not hard to find and experience water and its interactions with the island’s other natural phenomena, but it’s ubiquity means it’s often taken for granted. Photographically, there are innumerable opportunities to explore.

Waterline, Makonikey, 2018
Michael Stimola
Archival Pigment Print
20" x 20"     Framed: 30" x 30"
2018     Edition of 10
$795
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