ABOUT

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About This Work

The images in these Collections reflect my interests as a photographer and artist — countries, landscapes, cities and people.

What they all share, apart from the love I have for their subjects, is a technique that I discovered while photographing a granddaughter playing on Takapuna Beach in Auckland —  that by joining the photographs I could document the process of building a sandcastle in a single frame. Remembering my lessons from Renaissance Art History, I realised that digital technology offers a way to incorporate into photography the ancient art of Synoptic or Continuous Narrative — representing a subject multiple times in the same frame.

Since then I've used use these tools and techniques to tell stories, and to create portraits, multifaceted street scenes and panoramic landscapes.

I have shown much of the work on this website in a series of exhibitions in Auckland and Whangarei, New Zealand, and in Dijon, France. My work is held in many private art collections, and the images here are available for purchase as prints or framed images.

Please enjoy — Kenneth


Background and inspirations

My name is Kenneth Edward Adams. I'm a Fine Arts, Honours graduate in painting, and my work owes as much to my artistic expertise and the history of art as it does to photography.

I'm an artist by serendipity, drawn to Art — while at school in a small, impoverished Northland town — by my teacher Selwyn Wilson. Later, at the Elam School of Fine Arts, I was introduced to French and Italian painting by my lecturers Garth Tapper and Colin McCahon.

Colin McCahon wrote:

“Big hills stood in front of the little hills, which rose up distinctively across the plain from the flat land; There was a landscape of splendour, and order and peace…"

“I saw something logical, orderly and beautiful belonging to the land and not yet to the people. Not yet understood or communicated, not even yet really invented. My work is to communicate this vision and to invent a way to see it.”

 Inspired by McCahon and Tapper, I began a personal journey of discovery into French and Italian painting through art museums and journeys in France. Besides the work of McCahon, all my photographs are rooted in the context of French painting…

— In Arles I discovered the remnants of the pivotal moment when Vincent Van Gogh discovered the Van Gogh that the world knows today.

— While living in Arles, I took a bus to Aix-en-Provence to visit Atelier Cezanne and pay homage to a favourite of McCahon, Paul Cezanne.

— In Nice, during a visit to the Matisse Museum, I came face to face with a collection of his studio paraphernalia, minor artworks and artistic philosophy:

“What I dream of is an art of balance, of purity and serenity, devoid of troubling or depressing subject matter, an art which .... had a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue….”

— Finally, trudging along the Boulevard de Templer one late afternoon, and feeling increasingly dejected after trying to capture the passion that burned in me for Paris, I came upon Le Canal Saint-Martin. Across the Canal the lock-keeper's house nestled among tall, spindly oak trees. Soft, dappled amber light bathed the entire scene: the trees, apartments, buildings, and the reflective surfaces of the Canal. An hour and a half later I was back in my apartment with just one set of images, but having discovered first-hand the source of the small splotches of paint that became known as ‘Impressionnisme Français.’

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