A pioneer of photo-manipulation in the darkroom, creating a magnificent collection of surreal imagery by hand. His images aren't meant for literal translation, but rather allow the viewer to transcend to a journey of the unfathomable and enjoy the surreality of the picturesque world created. Uelsmann played on big idea's, which helped his work become so vague - and this is turn led to interpretation left to subject to the viewer.
Ueslmann's work tends to conform to black and white imagery, with massive contrast of subject within the frame. He contrasts the organic with the artificial in much of his work.
Technique: Multiple printing of several negatives on one sheet of photographic paper. Exposing certain parts of the same negative longer, sometimes only exposing one part of a negative all together. To blend the images together well, blocking the light from below the enlarger, causing a soft edge.
PDN: It's been said that a lot of your photographs have psychological and/or spiritual dimensions? Is that your intention when making an image?
UELSMANN: I think my images have a lot of both. I also think that that has been a detriment to me in terms of the contemporary art scene because it's much more difficult for critics to write about work if they don't understand what's behind it. Most of my work places a great responsibility on the audience. I like that people have come to me and said, "Oh, you made a photograph that was one of my dreams." People have various interpretations of my images. One of my most popular images is of this man that is walking on a desk in a study that has a cloud ceiling. I think it's popular because it falls within what we generally call the narrative tradition. You just want to make up a story about it. I find that although I have left this image untitled, one of my gallery dealers, when he wants this picture, he always says, "I would like to get a copy of the Philosopher's Study."
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