In my artistic journey, I've always believed that artwork should not only provide answers but also pose questions. My focus is on the unobserved parts of an image, where I intentionally create a tension between elements, ultimately drawing the viewer's eye, likely suggesting a unique story or connection in the viewer's imagination.
My process involves digitally deconstructing an original photo and reassembling it, deliberately omitting certain aspects while incorporating unlikely elements from entirely different images. I layer textures from my image library, which includes stone, concrete, peeling paint, fabric, and surfaces that are rusted, crazed, or crumpled. As the image begins to take shape, I let the emerging elements guide me. I've learned to recognize when the final image has revealed itself, signaling that it's time to prepare for the final printing process.
My exploration into digital art began in the mid-1990s when I purchased a new scanner that came with a simple, early version of Photoshop. It didn't take long for me to realize the possibilities that lay in experimenting and manipulating scanned images. This realization opened a new door for me.
With a background in painting, graphics, and photography, I soon started creating framed art prints. I exhibited and sold my work at various outdoor art festivals in the Bay Area, at a time when almost no other artists were using this technology to create art. I became recognized in parts of the Bay Area for my atmospheric depictions of historic East Bay landmarks.
In recent years, my work has evolved to include elements of irony, implausibility, and a touch of mystery. I find joy in viewers' reactions when I explain how I created the montages, often revealing that there is no actual message or meaning intended. I encourage viewers to weave their own narratives about the atmosphere, shadows, and intrigue they are seeing--interactively connecting with the art in a personal and unique way.
Patrick J Osborne joined Pixels.com Licensing on January 1st, 2011.
