statement on the artist


        Richard Lorenz
        Fantastic Voyage :
        The Photographs of Arthur Tress

        PROLOGUE

        »Photography is my method for defining the confusing world
        that rushes constantly toward me. lt is my defensive attempt
        to reduce our daily chaos to a set of understandable images.
        Through my camera I try to clarify and edit the innumerable
        flow of momerts that constantly parades and irvades my
        senses. My urge to photograph is activated by an almost
        biological instinct for self-preservation from disorder. The
        camera is a mechanical apparatus that extends my natural
        ability and desire for meaningful organization. I need it to sur-
        vive.« - Arthur Tress [1]

      Arthur Tress distills multiple viewpoints in his unique and ever-evolving style of
      photography. The cultural and historical inquiry of the ethnographer, the psycho-
      social guidance and thought-seeding of the stage director, and the calculating,
      sometimes improvisational, imagination and creativity of the artist all coalesce in
      Tress the photographer. He is one of America's most prodigious and diversified
      photographers, one whose documentary reportage can be so subjective or fa-
      bricated that it subverts the genre, whose manufacture of visual eros can pre-
      sent seemingly incongruous dualities of beauty and violence, and whose cre-
      ation of an individual mythology in a universe of kitsch can make sense of the
      meaning of life, death, and the hereafter.

      Tress speculates that »much of today's photography . . . fails to touch upon the
      hidden life of the imagination and fantasy which is hungry for stimulation. The
      documentary photographer supplies us with facts or drowns in humanity, while
      the pictorialist, avant-garde or conservative, pleases us with mere aesthetically
      correct compositions - but where are the photographs we car pray to, that will
      make us well again, or scare the hell out of us?« [2] Over a span of thirty-five
      years, Tress has created his own selective world to suggest an answer to his
      query, a compellingly neo-surrealistic spectrum of imagery. He delights in the
      thought of leading his viewers through it for one fantastic voyage. .



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