P.T. Sullivan is an artist from NH working on a unique approach to photography. Recently he graduated with a MFA from School of the Museum of Fine Arts and Tufts. Both Nikon and Case Logic recognize his talents through various levels of support and sponsorship and the Arts Council of Ireland has recognized him as an artist in 1997. His work has been shown at a variety of personal collections, museums, galleries and exhibitions in the US and internationally including the Museum of Fine Arts Boston.
We relate to the world through our senses yet there are limitations to just how much we can experience and everyone has a history that effects their perception. My fascination with how the body works came from participating in numerous sports. I then asked my parents for the textbook Grey’s Anatomy. As an art major and Division 1 college athlete my studies of artists such as Edgerton and Muybridge motion study not only began to enter my art practice it also aided in understanding how to better perform as an athlete. Many great artists have created images using a dynamic range of methods and purpose to show movement and within my work there are some homages to them. For me, cameras have been used to directly and indirectly observe what they have been pointed towards since their inception and are used to reveal what one sees and doesn’t see when we use our eyes to look out into the world. My own perceptions and experiences have pushed me to find new methods in presenting a variety of actions while recognizing the work of those who preceded me. From exploring the work of the Irish born artist, Francis Bacon, not so much for his emotionally and contorted brutalism but how he was breaking the form of the figure and recognizing his own studies of the photographer Muybridge along with others such as Futurists like Balla.
Influenced by several traumatic injuries, including one of my own, my images reflect the process of preparation, mark-making, and performance in order to create these static images of dynamic motion. The images are created to show the residual traces of movement through an unraveling of time. The restraint and erasure of form in my work are more about the gesture, and leaves the figure ambiguous. This revealing of a world that brings about curiosity and a quest for answers can be a way to interact with the viewer. Even if I’m no longer present as the artist the viewer can build off their build off their own experiences.
We cannot help but see faces and castles in clouds, monsters in ink-blots and exotic forms in random dots. Form is so central to human perception that, I am told, it is extremely difficult to prove something random or formless. — Mae-Wan Ho (geneticist)