10 Questions with Jeremy Bach
The artist Bach is self-taught in all his artistic endeavors. This has lead him to borrow influences from several different schools, from the post-impressionist painters to Ansel Adams. Having started his twenty-year art career as a painter, his photography only came about as a reference tool for the canvas. Using his studies of art techniques and with the artist trained eye, Bach began using the camera not just as a tool but more as an extension of his imagination. While navigating this new expression of art, the recognitions began to materialize in the forms of awards from such competitions as a finalist in The Photographer’s Forum magazine 2017, Umbra International Photography Awards 2018, and a nominee award in the Fine Art Photography Awards for 2019 and 2020. As the photography matured into the artist’s unique style, the opportunities began to present themselves to exhibit internationally as well. Flourishing in this new direction, some of the artist’s works have been hung in such galleries as PH21 Gallery in Budapest and Blank Wall Gallery in Athens. When not behind the camera or at the easel, the artist enjoys writing flash fiction pieces while he consumes every paranormal show he can find on the television. The artist lives with his wife Jenny and their children Colton and Kya in the Finger Lakes region of New York State, USA.
Jeremy Bach - Portrait
ARTIST STATEMENT
“I use the camera to explore my feelings, dreams, and comments on artistic beauty or current social issues. When you view my images you’re actually looking into my mind’s eye.“ - Jeremy Bach
The Blonde, digital photography, 40x50 cm, 2018 © Jeremy Bach
INTERVIEW
First of all, introduce yourself to our readers. You are a self-taught artist; how did you start getting involved with art?
The imagination of an artist has always been within me. Growing up in poverty, the world I created was my way to escape from that environment. So when a series of tragedies in my mid-twenties shook my world to its foundation, the cornerstone of salvation had already been laid. I just had to make the decision. Do I take the easy path of self-destruction, or do I learn how to channel the pain into something constructive? I chose art to be my salvage, and over twenty years later, here I am.
You started as a painter and later moved to photography. Why did you choose these mediums? And what do they represent for you?
Painting has always been a physical bridge to my mind's worlds in the sense that I can touch, smell, and immerse myself in the vision. It's the materials used in the craft that connect me to that higher creative force. Photography is the visual connection to dreams. The camera allows a more fluid approach to the connection. There are few physical boundaries between the vision and the end result. I like photography because it can be an instant gratification to see the vision come alive.
Broken Down, digital photography, 40x50 cm, 2018 © Jeremy Bach
Where we at, digital photography, 40x50 cm, 2018 © Jeremy Bach
What is your aim as an artist?
I think it's to put my stamp on the world, say, here I was, and this is what was important to me or my generation. When we pass on, most of us become lost in history. Who we are, what we cared about, and who cared about us will all eventually fall away from humanity's memory. I have great great grandparents who I know their names and some facts about their lives but not who they were as people. But as an artist, if I'm lucky, I can pass on a wealth of who I was within my art to generations to come. There's something about art that speaks to us from earlier times.
Your career spans over 20 years; how would you define yourself as an artist today? How did this definition change over the years?
A mature artist. I began this journey as a dreamer who wished to escape from a dark place. Now I don't worry about what the world thinks of my art, whether I'll get into this gallery or make that exhibition, or if I'm still relevant to the art world. The older I get, the faster time is flying, and I'm deciding to take it slow and just enjoy the ride.
What are the main ideas behind your series and the messages you want to convey?
It is to visually narrate a story about contemporary issues which affect society. I don't want to shout my messages of the wrongs I see in this world but rather whisper it in a tale.
In the lights, digital photography, 40x50 cm, 2018 © Jeremy Bach
In the mirror, digital photography, 40x50 cm, 2018 © Jeremy Bach
Could you tell us about the most challenging part of your work?
Sometimes with a conceptual piece of photography. I'm old school and use real-world props instead of digitally altered after the fact, so bringing all the components together can be quite challenging. Also, my only assistant is my wife, and I operate on almost non-existent budgets, so finding models, locations, costumes, props, etc., and bringing it all together for a three-hour shoot can be frustrating.
What do you see as the strengths of your work, both visually and conceptually?
To be able to present a story with what resources I have available. I give the viewer the first page of the story, and they can then become the narrator. I'd like to think I can weave a pretty good story with my photography.
Is there anything else you would like to experiment with? What do you think of digital art and NFTs?
Digital art is where it's at. The digital revolution has now made it possible for everyone to be an artist. As we move forward, I do believe this medium will come to dominate the art world. Just like how digital changed the world of analog photography, so will digital platforms change how we paint and look at art. I know it's done for me.
Excuse Me, digital photography, 40x50 cm, 2018 © Jeremy Bach
And today, what are your thoughts on digital presentations and online exhibitions? Did you take advantage of these new forms of promotions over the past couple of years to present your work to a broader audience?
Online galleries and exhibitions have reinvigorated an industry that I think wasn't sure in which direction to go into the future. I think it's opened up real representation to more emerging artists who may not have been given their chance for many years to come. Wall space is expensive, and galleries usually reserve that for artists with a track record of sales, but in the virtual world, these same galleries can take more chances with unproven artists and not risk much. I think this will be of a huge benefit to both the world of the galleries and the artist.
Finally, what are your plans for the future? Anything exciting about exhibitions or future projects you want to tell us?
I want to take my camera into the small rural towns and capture a vanquishing aspect of the American landscape. Most of my work is based on conceptual storytelling, so doing a documentary series will be different and a first for me.
