Photomanipulation nominee

“All those moments will be lost in time like…tears…in rain…” - (Roy Batty, from Blade Runner)

It seems some of us can wrap out minds around death, find a way to accept it and live with it, and perhaps some of this is due to religion or belief in the afterlife. Remove anything other than proof or fact though, and all evidence seems to point to the fact that we just…stop.

Nothing more, no continuation.

I think if we are truly being honest with ourselves, we can admit that death is terrifying, and nature’s instinct for survival only supports this imperative to live.

Did you ever wonder, “what will be the last thing I see?” “What sort of day will it be?” “Will I see it coming, or will I be blindsided?”

I almost think a slow fade into senility or dementia would make this inevitable epilogue easier to take, were you are effectively erased from your self awareness little by little, until the erosion is complete and your through line of life experiences is all but gone.

That, to me, is the hardest part to accept: that all these experiences, all these stored and captured moments, will be lost.

Michael is an American award winning conceptual fine art photographer from the Boston, Massachusetts area. Before focusing his interests in the visual arts, Michael studied music at the Berklee College of Music, where he majored in songwriting and composition.

All work is 100% photographic and the imagery is created as layered composites in Photoshop. His work has appeared in numerous magazines, including Healthy Living and Practical Photoshop, as well as on book covers and album art worldwide.

His awards include:

Outstanding Achievement in Photography (amateur)
Camera Obscura Journal
June 2013

Finalist/Winner
Canon Project Imagination
May 2013

Honorable Mention (Advertising/Conceptual)
Neutral Density Magazine 2014 Photography Awards
December 2014


Artist's Statement

Through my art, I explore the inner terrain of the mind - the fears, the hopes, the personal and universal human condition expressed through metaphor and allegory. They are surreal dreamscapes, conceived by piecing the individual photographic images together one at a time. They usually begin instinctively, with no concept in mind, until one is revealed through the process of improvisation, and the concept is then fleshed out further once it forms. The people, places and objects in the imagery are taken separately, and with these raw pieces I assemble something