I make pictures of Invisible Ink.
I expose reality and perception with a camera. With the first cry and breath, we begin to use Visual Thinking. We live by observing everything, deciding upon its purpose, and how best to join with it. We name everything: me, you, momma, family, other, home, world, school, job, people, places, and things. On, and on, it goes until the last breath; scripting it all with The Invisible Ink of this process. Every name or word we decide becomes the symbol of This Ink.
My photographs are symbols, invisible inkblots, using more symbols.
When I can See myself observing, the Invisible Ink becomes visible to me; I then get to decide if I am happy with my decision. If not, an opportunity to write afresh, another story, learning that both reality and perception are fluid. My photography is my practice with life; my photography projects, the curriculum
My photographs are symbols, invisible inkblots, using more symbols, hopefully inviting the viewer to find them enjoyable and rewarding in some personal way.
This site is sort of like my studio walls. You will find images pinned up that I have “finished,” potentially ready to be included in their project; they are ready to be adopted. The dilemma is that I’m not sure which ones will belong and which ones will not. A lot depends on how well they “play with others” and how they “uniquely communicate” the project’s intent as it pulls together.
But, they are all still my children, and I love them all for different reasons! Once during a portfolio review, the critiquer asked me if there was a fire and I could only save one; which one would it be? -it’s like that.
“34°56’6.546″ n 83°50’23.958″ w + 300 Feet”
Statement:
“Time isn’t precious at all, because it is an illusion. What you perceive as precious is not time but the one point that is out of time: the Now. That is precious indeed. The more you are focused on time—past and future—the more you miss the Now, the most precious thing there is.”
-Eckhart Tolle
Six days a week I go to my swing at GPS: “34°56’6.546″ n 83°50’23.958″ w.
In all kinds of weather and all times of the day, I begin by discarding as best as I can any thoughts of the past or future; any concerns or anticipations. After I discard all of this, I am allowed to wander anywhere within 300 feet. My camera and I are seeking the emotions and insights that nature and The Present Moment have to offer.
GPS: 34°56’6.546″ n 83°50’23.958″ w + 300 Feet began in April 2021. It started as my effort to pause and reflect on lessons learned during COVID and make an effort to plan what my life will be like post-COVID. Knowing that the past and future are illusory, as Eckhardt Tolle so eloquently states, I also follow the Cheshire Cat: “If you don’t know where you are going, any road can take you there.”
enter stage left: The Swing, my portal to The Now
“In every walk with nature, one receives far more than he seeks.”
— John Muir
Some of these images will be promoted into their project 34°56’6.546″ n 83°50’23.958″ w + 300 Feet
Until that time, they are all available now as artist proofs on archival fine art paper, the identical quality of my Fine Art Limited Editions -at early bird prices. The difference is that they are not yet selected, limited, and numbered; they are signed, dated, and marked as artist-proof.
For images that make it into the project, the number of artists’ proofs will be published and their owners documented in the project records
Having an artist statement and working in projects is hard for me, but I am told that to be a persuasive communicator using photography, one must. I did not go to art school. I have learned my craft by doing anything and dropping what did not work. Gratefully I did not need to feed myself with it.
About my artist statement- if I am supposed to explain my purpose, my best, albeit feeble attempt at that is presented above via the Invisible Ink metaphor.
LOOKING FOR SIGHT – Stumblings
I used to think that I would take my camera and go somewhere to take pictures, usually driving, sometimes walking, but always somewhere else. As I have practiced what I call stumblings, I understand that it is not going, but stopping that I am doing.
I look. I make a picture. It is the right one if it stops my mind and makes me question what I am seeing. Do I see what is there? Or, am I deciding what I am seeing? Why? For what purpose?
In Looking For Sight, I aim to create images that interrupt the almost unconscious process of assuming to know what one is seeing; to create images that question the validity of that assumption and provide an opportunity to write a different story, thereby learning who the author is.
Subject and Process:
The subject of these works will be the scenes I encounter as I wander with my camera, exploring Visual Thought using photographic images. I will use these scenarios in two ways. Much like a crime scene for example, some will be storytellers. Others will be scenes where both myself and the viewer ascribe our own meanings. Some will be both; all will use the language of symbols and Visual Thought as communication tools.
I will consider the images successful if they engage the viewer long enough to warrant an interpretation of their meaning. WHAT the image is conveying is not essential to me. Increased self-awareness of the process of Visual Thinking and how we use the visual world to communicate is a goal for myself and, hopefully, viewers. I call it reading the Invisible Ink.
The majority of these random “stumblings” are in The American South and will speak with another layer of Southern symbology for those attuned.
Project NINE
Project NINE
Project NINE
Statement:
My work is about the assignment of reality.
Within the first three minutes of meeting a new person or situation, human nature drives us to appraise, classify, and designate a judgment for each encounter, observing everything, deciding upon its purpose. This primal instinct served humanity well for survival but causes much separation and conflict in modern society.
I create purposefully ambiguous images to elicit the viewer to interpret and ascribe a judgment or understanding; often, the image conveys potentially drastic different meanings. In performing this enigmatic process, I hope the viewer will realize this ascribed meaning reflects their views, past, and biases and has no reality in the image. I use my camera as a reading tool to elucidate my own judgments and then pass my interpretations on to the next viewer. I want the ambiguous nature of the image to essentially compel the opening of the door to self-reflection and, hopefully, a more empathetic and tolerant “reality.”
I like to journey solo with my camera, mainly in the Southern US. I have yet to decide if I am finding these scenes or inventing them.
Art is a personal affair. Once you receive your purchase if you find it is not the perfect fit for you, no worries.
100% Guarantee. If you are not happy, there is a full refund period of 14 days from the delivery date. To return, contact Todd Suttles via email at photo@ToddSuttles.Com within 14 days of your delivery date. Keep the original shipping package to use for free return shipping. Additional assistance is available by calling Todd Suttles at 404-255-5530.
**There is a $12 handling fee if not returned in the original shipping package
Project Seven
Project Seven
Project Seven
There is a harmony, a balance, below the visible turbulent surface of everything. Sometimes I see it through the whitecaps and foam. Sometimes it is elusive and can’t be found, at least for me anyway. I don’t know why.
When I do seem to find it, I am not entirely clear if it is more present there in that moment and place, or if it is I who is just more able to see it then, like Leonard Cohen, living in his Tower Of Song.
I like to believe that it is everywhere, at all times, that I could see it if only I would stop looking at the everything else.
For me, a successful landscape photograph is not one that captures this harmony and balance, but one that leaves out the whitecaps and foam; leaves out the everything else.
There is a harmony, a balance, below the visible turbulent surface of everything.
PROJECT STATEMENT:
If my project “Time In a Swing” is the Yin, my “Rumors of Time” project is the Yang
Both are restricted to the same geophysical space:
34°56’6.546″ n 83°50’23.958″ w + 300 Feet
“Time in a Swing” explores The Now of what I find there. This project, “Rumors of Time,” explores what I carry into that space. Specifically: personal objects, memorabilia from my life.
The images, of course, contain the thing itself and, more importantly, if successful, include the rumors about the memorabilia that I have carried forward in time.
Time is a funny thing. It seems so rigid and simultaneously untouchable. The Now is easy enough to grasp, sometimes, but tomorrow and yesterday are challenging to distinguish from simple dreams; about as palpable; more malleable.
I use physical objects in this project, which were once significant, drifted in importance, and are now mere symbols of memories: rumors.
Some of these images will be promoted into their project, Rumors of Time.
Until that time, they are all available now as artist proofs on archival fine art paper, the identical quality of my Fine Art Limited Editions -at early bird prices. The difference is that they are not yet selected, limited, and numbered; they are signed, dated, and marked as artist-proof.
For images that make it into the project, the number of artists’ proofs will be published and their owners documented in the project records
This collection holds current images that I like for one reason or another. They may never make it into a fine art project; I simply enjoy them. The photos are available as archival pigment print artist-proofs, priced for enjoying instead of investing.
Current work that I enjoy available as open edition, fine art archival pigment prints. Signed and dated. Other sizes most likely available, please contact me; photo@ToddSuttles.com
PROJECT STATEMENT:
This project began several years ago. It has a long way to go before I believe it even approaches being complete. I may never finish it. The intent of this project is to explore and contemplate how humans are each uniquely the same. Yes, that is contradictory; and also true.
In many ways, I started this project as a young child, being “Odd Todd” -the weird artist’s kid growing up in the conservative mid-twentieth-century Southern United States. Not understanding and not fitting in, I passionately observed everyone and everything. I have never stopped. I am fascinated by us humans; we are never uninteresting or predictable; eventually, we all seem to find our spot. This work is about that.
Some of these images will be elevated into their respective projects.
Until that time, they are all available now as artist proofs on archival fine art paper, the identical quality of my Fine Art Limited Editions -at early bird prices. The difference is that they are not yet selected, limited, and numbered; they are signed, dated, and marked as artist-proof.
For images that make it into the project, the number of artists’ proofs will be published and their owners documented in the project records
All artworks that are not visible on Artjolt but need to remain “live” for sales from other websites -or- are different edition sizes that are offered, but not publically viewable
New Project.
New Artwork.
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Growing up as the son of two professional artists in the conservative mid-twentieth century South influenced Todd's perception of contemporary culture. Often being that artistic kid on the fringe of normal, his position as an outlier made him a vigilant observer of people, places, and situations.
A successful career as a salon owner, and stylist, Todd worked closely with people to express their sense of identity. Much of his photographic work seeks to find, document, and tell these unique stories.
For decades, Todd photographed commercially to support his business and in 2010 restructured his life to focus on artistic work. Since then, his work has been exhibited in both group and solo exhibitions in the Southeast region.