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Decagon Gallery
FOUND OBJECTS
Welcome to the Online Photography Exhibition: FOUND OBJECTS
We are delighted to present this captivating collection of photographs that celebrate the art of discovery and reinvention. FOUND OBJECTS invites us to see the extraordinary in the everyday—to uncover beauty, meaning, and stories in items often overlooked, discarded, or forgotten. These photographers have transformed the mundane into the magnificent, reminding us of the power of perspective and the magic of creative vision.
We extend our heartfelt congratulations to the winners of this competition, whose works stood out for their originality, technical mastery, and evocative storytelling:
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First Place: Jeff Denis
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Second Place: Richard Murrin
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Third Place: Pat Gilhooly
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Honorable Mentions: Howard Pohl and Karl Ford
Each of these artists has embraced the spirit of FOUND OBJECTS, reinterpreting their discoveries through the lens of their unique experiences and artistic voices. Their works, along with all those featured in this exhibition, remind us that inspiration can be found anywhere—if only we take the time to look.
We invite you to explore, reflect, and engage with this extraordinary collection. Thank you for joining us in celebrating the ingenuity and imagination of these talented photographers.
Enjoy the exhibition!
click on an image to learn more
First Place
Jeff Denis
Concours
Born in Quebec in 1971, Jeff Denis undertook studies in drawing at the Imagine workshops, some Masterclass training in photography and interior decoration. These skills will accompany him during the 30 years that he has been a director in cinema and television. The frozen image, the emotion like extreme slow motion, the silence and abandonment liquefy in the vapor of a tedious daily life. His career includes several gallery exhibitions, teaching cinematographic art, illustrating children's books, two film companies and several television series. Through an invasive profession, photographic escape continues to develop. Rural scenes, humans, travel, the impromptu and his love of immodesty confirm an omnipresent creative energy that he deposits on these canvases.
Born in Quebec in 1971, Jeff Denis undertook studies in drawing at the Imagine workshops, some Masterclass training in photography and interior decoration. These skills will accompany him during the 30 years that he has been a director in cinema and television. The frozen image, the emotion like extreme slow motion, the silence and abandonment liquefy in the vapor of a tedious daily life. His career includes several gallery exhibitions, teaching cinematographic art, illustrating children's books, two film companies and several television series. Through an invasive profession, photographic escape continues to develop. Rural scenes, humans, travel, the impromptu and his love of immodesty confirm an omnipresent creative energy that he deposits on these canvases.
Richard Murrin
Garden Objects
Believing that one picture is worth a million words, it is the task of the contemporary photographer to expose the magic that nature & humanity can perpetuate, using representations of form & colour to produce images reflecting the agonies & ecstasies of the process of making & the appreciation of the visual experience.
My work is the product of a combination of direct observation, photo-reference, memory and imagination. Most interesting to me is the effect of light. As my work tends toward a high degree of realism, it’s only the product of trying to ‘shine light on something’, producing the illusion of high-fidelity realism, which, one hopes, has the ability to positively sway the viewers perception, imagination & consciousness.
Believing that one picture is worth a million words, it is the task of the contemporary photographer to expose the magic that nature & humanity can perpetuate, using representations of form & colour to produce images reflecting the agonies & ecstasies of the process of making & the appreciation of the visual experience.
My work is the product of a combination of direct observation, photo-reference, memory and imagination. Most interesting to me is the effect of light. As my work tends toward a high degree of realism, it’s only the product of trying to ‘shine light on something’, producing the illusion of high-fidelity realism, which, one hopes, has the ability to positively sway the viewers perception, imagination & consciousness.
Pat Gilhooly
The Bath Towel
The commonality of these photos is that they all were taken by my surprise. I was not out on a shoot or looking for a unique capture. I was either doing something mundane like driving my car into the garage ( L Shaped shelf bracket stared at me) or simply walking around the current space I was in - a boat, a hotel, a sidewalk. What caught my eye was always the interplay of the light and shadow. Two things that make life very interesting!
The commonality of these photos is that they all were taken by my surprise. I was not out on a shoot or looking for a unique capture. I was either doing something mundane like driving my car into the garage ( L Shaped shelf bracket stared at me) or simply walking around the current space I was in - a boat, a hotel, a sidewalk. What caught my eye was always the interplay of the light and shadow. Two things that make life very interesting!
Howard Pohl
Not The Pixar Logo
All of my photographs are analog in nature. In 1986, I purchased a darkroom package from the late, great 47th Street Photo in New York. I still have most of the equipment purchased on that day, supplemented over the decades with better versions of equipment and materials. When the rest of the world went digital, I stayed behind and continued to take photos on black and white film and print them in my home darkroom. I believe that black-and-white film has a quality that cannot be reproduced digitally. While the latter technique may be more “perfect”, photos taken on film have a different aesthetic quality. Working by hand in a darkroom mostly prevents me from doing the ethereal, mythical, fact-altering work that digital photographers can attain. Still, I think there is a soul-satisfying truth that can be captured via film. This lack of transformative technology adds more pressure to the initial exposure as it requires greater preparation and care; you can’t fix it in Photoshop. The important information has to be included in the negative. I believe that art and beauty can be found almost anywhere. I have an old Hagstrom map of Suffolk County, New York, divided into 36 rectangles. I use a random number program to determine which rectangle to visit that day and then again to decide the grids in which to take pictures. I attempt to identify found objects, landscapes, and other random features. Sometimes I find great features to photograph and sometimes I find nothing but something is working as, since I began exhibiting in 2015, I have been shown in more than 60 galleries and museums from Vermont to California. The results may not coincide with some viewer’s concept of beauty but I think that beauty can thrive in a variety of circumstances. A lot of my images are of things that were once functional and productive but have reached their point of expiration. They exist only because something newer and shinier has not come along yet to replace it. That is fine by me. They are much more interesting visually. Most of my photos are taken on Ilford Delta 100 and 400 film, processed with Ilford chemicals, and printed on their Multigrade paper under the light of a Beseler 23CIII enlarger with a Kodak Ektar lens.
All of my photographs are analog in nature. In 1986, I purchased a darkroom package from the late, great 47th Street Photo in New York. I still have most of the equipment purchased on that day, supplemented over the decades with better versions of equipment and materials. When the rest of the world went digital, I stayed behind and continued to take photos on black and white film and print them in my home darkroom. I believe that black-and-white film has a quality that cannot be reproduced digitally. While the latter technique may be more “perfect”, photos taken on film have a different aesthetic quality. Working by hand in a darkroom mostly prevents me from doing the ethereal, mythical, fact-altering work that digital photographers can attain. Still, I think there is a soul-satisfying truth that can be captured via film. This lack of transformative technology adds more pressure to the initial exposure as it requires greater preparation and care; you can’t fix it in Photoshop. The important information has to be included in the negative. I believe that art and beauty can be found almost anywhere. I have an old Hagstrom map of Suffolk County, New York, divided into 36 rectangles. I use a random number program to determine which rectangle to visit that day and then again to decide the grids in which to take pictures. I attempt to identify found objects, landscapes, and other random features. Sometimes I find great features to photograph and sometimes I find nothing but something is working as, since I began exhibiting in 2015, I have been shown in more than 60 galleries and museums from Vermont to California. The results may not coincide with some viewer’s concept of beauty but I think that beauty can thrive in a variety of circumstances. A lot of my images are of things that were once functional and productive but have reached their point of expiration. They exist only because something newer and shinier has not come along yet to replace it. That is fine by me. They are much more interesting visually. Most of my photos are taken on Ilford Delta 100 and 400 film, processed with Ilford chemicals, and printed on their Multigrade paper under the light of a Beseler 23CIII enlarger with a Kodak Ektar lens.
Karl Ford
Just a Shadow Now
My love of photography began with film, darkrooms, and chemicals. I’m mostly self-taught, and made a career out of working for small companies, large corporations (Mack Trucks, Inc.), educational institutions, and for many years with the US Dept. of Transportation’s Research Center in Cambridge, MA. When I wasn’t making a living, I was hunting for images and holding exhibits in banks, libraries, anyplace I was allowed and could afford. I also worked as a professional picture framer in two different galleries in the Boston area. I don’t consider my “fine art” photography to be journalistic. I’m not necessarily trying to capture a shared reality, but rather my mind’s eye perception of it.
My love of photography began with film, darkrooms, and chemicals. I’m mostly self-taught, and made a career out of working for small companies, large corporations (Mack Trucks, Inc.), educational institutions, and for many years with the US Dept. of Transportation’s Research Center in Cambridge, MA. When I wasn’t making a living, I was hunting for images and holding exhibits in banks, libraries, anyplace I was allowed and could afford. I also worked as a professional picture framer in two different galleries in the Boston area. I don’t consider my “fine art” photography to be journalistic. I’m not necessarily trying to capture a shared reality, but rather my mind’s eye perception of it.
Terry Abell
Aging Beauty
"Take time to see the beauty in world around you" is a statement that I try to focus on while out with my camera. Slowing down and looking carefully can open up all sorts of possibilities. Even the most mundane objects can become Art when handled with delicacy and tenderness.
"Take time to see the beauty in world around you" is a statement that I try to focus on while out with my camera. Slowing down and looking carefully can open up all sorts of possibilities. Even the most mundane objects can become Art when handled with delicacy and tenderness.
Laurence Scott
Horns of a Dilemma
For many years, I've been shooting found objects. It's exciting to happen upon an unusual, mysterious, beautiful, or thought-provoking object in a setting that cries out to be immortalized by a photograph
For many years, I've been shooting found objects. It's exciting to happen upon an unusual, mysterious, beautiful, or thought-provoking object in a setting that cries out to be immortalized by a photograph
Lisa Trevino
Urban Creativity
My distinct lens is shaped by my senses, experiences, and perceptions. I am interested in relationships between color, form, and texture. Much of my work originates from photographs taken on my iPhone, capturing images from nature, an experience, happenstance, and on occasion, a fluke or a happy surprise. These images lead me to a variety of ideas and options, whether they remain as photographs or evolve into drawings, paintings, or relief prints.
I approach each piece of work as an experiment which frees me to explore the possibilities and to succeed or fail in the attempt. This process allows me to work across disciplines and continuously discovered any new possibilities. For me, the joy of making art lies in trial and error and following an idea wherever it leads.
By leaving space for interpretation, I invite viewers to engage with my work and create their own interpretation of the work, encouraging fresh perceptions, and personal connections.
My distinct lens is shaped by my senses, experiences, and perceptions. I am interested in relationships between color, form, and texture. Much of my work originates from photographs taken on my iPhone, capturing images from nature, an experience, happenstance, and on occasion, a fluke or a happy surprise. These images lead me to a variety of ideas and options, whether they remain as photographs or evolve into drawings, paintings, or relief prints.
I approach each piece of work as an experiment which frees me to explore the possibilities and to succeed or fail in the attempt. This process allows me to work across disciplines and continuously discovered any new possibilities. For me, the joy of making art lies in trial and error and following an idea wherever it leads.
By leaving space for interpretation, I invite viewers to engage with my work and create their own interpretation of the work, encouraging fresh perceptions, and personal connections.
Cynthia Abatt
White Paint
I'm most comfortable being in a situation where I'm left to my own devices to find and take the photographs. I don't really like to set anything up. I think that if a photograph appeals to me, hopefully it will appeal to the audience.
I'm most comfortable being in a situation where I'm left to my own devices to find and take the photographs. I don't really like to set anything up. I think that if a photograph appeals to me, hopefully it will appeal to the audience.
Justine Crowely
Niche Vodka
I have been using cameras for the last 35 plus years to capture the way I see our world. I am fascinated by light, and the way it affects the world around us. I see the way light highlights the small everyday things and the way it can transform an everyday sight into something spectacular. I have had work in shows in across the country, with one hanging in the Firefly Artists' Juried Show "Works On Paper" currently. My last solo show was through was with Salon Diversions during Dirty Linen Night 2024 on Royal Street in New Orleans. My two dogs and I split our time between Baton Rouge and New Orleans. The cats don't. I started my journey with a Kodak 110 camera and now shoot with a Canon Mark 5D DSLR, a Hasselblad 500 C/S Film camera, an iPhone 12 Pro and my father's Yashica Range Finder, my first 35mm camera years ago. My latest venture is creating scanograms.
I have been using cameras for the last 35 plus years to capture the way I see our world. I am fascinated by light, and the way it affects the world around us. I see the way light highlights the small everyday things and the way it can transform an everyday sight into something spectacular. I have had work in shows in across the country, with one hanging in the Firefly Artists' Juried Show "Works On Paper" currently. My last solo show was through was with Salon Diversions during Dirty Linen Night 2024 on Royal Street in New Orleans. My two dogs and I split our time between Baton Rouge and New Orleans. The cats don't. I started my journey with a Kodak 110 camera and now shoot with a Canon Mark 5D DSLR, a Hasselblad 500 C/S Film camera, an iPhone 12 Pro and my father's Yashica Range Finder, my first 35mm camera years ago. My latest venture is creating scanograms.
Lynda Gardner
Hood Ornament
I CONSIDER THERE IS NOTHING ORDINARY OUT THERE IF YOU PAY ATTENTION.
I CONSIDER THERE IS NOTHING ORDINARY OUT THERE IF YOU PAY ATTENTION.
Bill Smyth
Rusty Carcass
I am just getting started in my photography art showmanship. I have been accepted at two physical shows and several online shows.
I am just getting started in my photography art showmanship. I have been accepted at two physical shows and several online shows.
Lisa Lillibridge
after the beach party
I have been drawn to found objects since I was a child. Photographing or collecting objects happened upon often dominates my focus. The shadow side is the inability to take a walk without being interested in everything I see. I have many images of what I've found while walking Town Neck Beach in Sandwich, Mass on Cape Cod. Seeing beauty in ruins or what has been discarded or lost is sort of a way of life for me.
I have been drawn to found objects since I was a child. Photographing or collecting objects happened upon often dominates my focus. The shadow side is the inability to take a walk without being interested in everything I see. I have many images of what I've found while walking Town Neck Beach in Sandwich, Mass on Cape Cod. Seeing beauty in ruins or what has been discarded or lost is sort of a way of life for me.
Joseph Heathcott
Market meters, Oaxaca
My work examines urban landscapes through a range of scales, registers, and media. The primary focus is on the relationship between people and the built environments that they create and that surround them. Most of my projects occupy the intersection between documentary and aesthetic impulses, and in doing so are neither real nor beautiful, but something else. That "something else" changes from time to time, but might best be described as the trace of a world, a sense of a place, a condition of living. I am particularly drawn to the urban moment-- the tiny, crystalline, yet ephemeral increments that unfold within the filaments of the city. To track these, I search the interstitial spaces, fragile ground, and odd corridors that best reveal something of the urban. Ultimately, since the whole city is unknowable, I look for it through its traces: the signals, noises, layers, jagged edges, soft wares, connective tissues, ghosts, hoaxes, fetishes, archives, dreams, and buried treasures.
My work examines urban landscapes through a range of scales, registers, and media. The primary focus is on the relationship between people and the built environments that they create and that surround them. Most of my projects occupy the intersection between documentary and aesthetic impulses, and in doing so are neither real nor beautiful, but something else. That "something else" changes from time to time, but might best be described as the trace of a world, a sense of a place, a condition of living. I am particularly drawn to the urban moment-- the tiny, crystalline, yet ephemeral increments that unfold within the filaments of the city. To track these, I search the interstitial spaces, fragile ground, and odd corridors that best reveal something of the urban. Ultimately, since the whole city is unknowable, I look for it through its traces: the signals, noises, layers, jagged edges, soft wares, connective tissues, ghosts, hoaxes, fetishes, archives, dreams, and buried treasures.
Gordon Reynolds
Island surfing on dry land
Most of (my) photographs are from a larger body of work I have at different times referred to as "Strange World" or just plain "Weird". These things are off-kilter, dada, surreal, and the camera is the best way to isolate and capture them and I seriously doubt that most people would even notice them otherwise.
Most of (my) photographs are from a larger body of work I have at different times referred to as "Strange World" or just plain "Weird". These things are off-kilter, dada, surreal, and the camera is the best way to isolate and capture them and I seriously doubt that most people would even notice them otherwise.
Denise Heinrich-Lane
disused boating miscellanea
Momentary reveries in the port.
Hidden underbellies of boats
homes to weeds and barnacles.
Constellations inconspicuous shifting in the flux and flow of boating miscellanea and lumière
ropes and the watery deep. Ropes and the watery deep.
What is often bypassed as dull, insignificant, worthless or ugly, isn't when given care and attention. The world can transform into meaningful configurations becoming an endless process of discovery.
Momentary reveries in the port.
Hidden underbellies of boats
homes to weeds and barnacles.
Constellations inconspicuous shifting in the flux and flow of boating miscellanea and lumière
ropes and the watery deep. Ropes and the watery deep.
What is often bypassed as dull, insignificant, worthless or ugly, isn't when given care and attention. The world can transform into meaningful configurations becoming an endless process of discovery.
Tony Ayala Fuentes
Valentine
Most of my work comes from my hometown of Los Angeles, which inspires my street photography and cinematography. As a lifelong resident, I know that LA is a sad, mysterious, violent, wonderful place. Folks come from all over to experience this fever dream of a city; to enjoy a 9 dollar cup of coffee, to make it big, whatever that means... but beyond the superfluity, there's real people here, there's a real heart. People call us vain, or superficial, or that everyone here has an agenda. But I, as a working class shlub, know that everyone here is trying in a spectacularly. I hope these photos reflect that.
I also hope I don't sound pretentious.
Most of my work comes from my hometown of Los Angeles, which inspires my street photography and cinematography. As a lifelong resident, I know that LA is a sad, mysterious, violent, wonderful place. Folks come from all over to experience this fever dream of a city; to enjoy a 9 dollar cup of coffee, to make it big, whatever that means... but beyond the superfluity, there's real people here, there's a real heart. People call us vain, or superficial, or that everyone here has an agenda. But I, as a working class shlub, know that everyone here is trying in a spectacularly. I hope these photos reflect that.
I also hope I don't sound pretentious.
HIDEKI YURA
Anger
Since 1997, I have been showing my work as a fine art photographer in group and solo exhibitions. I have also entered competitions and my work has been selected.
Public collection : Kiyosato museum of photographic arts
A broken camera abandoned on the steps of the Grande Arche de la Défence in Paris.
It's unlikely that it was damaged simply by being dropped; it must have been deliberately smashed against the ground. I can't help but wonder why there was no film inside. It felt as if there was a sense of anger lingering around the camera.
Since 1997, I have been showing my work as a fine art photographer in group and solo exhibitions. I have also entered competitions and my work has been selected.
Public collection : Kiyosato museum of photographic arts
A broken camera abandoned on the steps of the Grande Arche de la Défence in Paris.
It's unlikely that it was damaged simply by being dropped; it must have been deliberately smashed against the ground. I can't help but wonder why there was no film inside. It felt as if there was a sense of anger lingering around the camera.
Peter Tilgner
Between A Rock And A Hard Place
I see the world around me as photo opportunities. Subject matter, light, color, and composition are constantly being played out in my mind. Collections of these photographs are the source material for my work.
I see the world around me as photo opportunities. Subject matter, light, color, and composition are constantly being played out in my mind. Collections of these photographs are the source material for my work.
Michael Gallagher
Colors
In my photography, I am trying to examine an intimate view of an object rather than the grand thing we see daily without dwelling on it. We often fail to see something because it is so familiar and has
become mundane, and ceased being a thing of enchantment. These intimate bits, when we are presented with them, seem often to become an abstraction and we must sometimes wonder how we missed it. Much of my work can be described as minimalist or as an abstraction. The size of the subject is not relevant to my seeing it and interpreting it: tiny or not. That idea may apply even when I am walking in
a very big place. For example, White Sands comes to mind: a vast landscape that can be described with just lines of
two or three monochrome colors. That is all that is needed to tell it's story, nothing extraneous need be
seen.
In my photography, I am trying to examine an intimate view of an object rather than the grand thing we see daily without dwelling on it. We often fail to see something because it is so familiar and has
become mundane, and ceased being a thing of enchantment. These intimate bits, when we are presented with them, seem often to become an abstraction and we must sometimes wonder how we missed it. Much of my work can be described as minimalist or as an abstraction. The size of the subject is not relevant to my seeing it and interpreting it: tiny or not. That idea may apply even when I am walking in
a very big place. For example, White Sands comes to mind: a vast landscape that can be described with just lines of
two or three monochrome colors. That is all that is needed to tell it's story, nothing extraneous need be
seen.
Ardine Nelson
Transitory States B-7891
Our cultural emphasis on youth, freshness, and perfection, misses the importance of experience, of life well- lived. Transitory States explores the aging process and signs of passing time. Surfaces wrinkle and may fade. Any hint of fragrance no longer remains to enjoy. As negative as this may sound, I have come to embrace the aging process and look to a more mature appreciation of all stages of life. I employ a medium format digital camera, macro lens, controlled lighting, isolate the subject against black velvet, and mat/frame in black. "Stack focusing", as many as 90 separate frames, allows the final image focus to encompass the entire object with surprising crispness and detail. Original plant pieces may be as small as 3" and I have printed as large as 40" x 60". Framed 40"x32"
Our cultural emphasis on youth, freshness, and perfection, misses the importance of experience, of life well- lived. Transitory States explores the aging process and signs of passing time. Surfaces wrinkle and may fade. Any hint of fragrance no longer remains to enjoy. As negative as this may sound, I have come to embrace the aging process and look to a more mature appreciation of all stages of life. I employ a medium format digital camera, macro lens, controlled lighting, isolate the subject against black velvet, and mat/frame in black. "Stack focusing", as many as 90 separate frames, allows the final image focus to encompass the entire object with surprising crispness and detail. Original plant pieces may be as small as 3" and I have printed as large as 40" x 60". Framed 40"x32"
Sarah Lilja
Water Ballet IV
I make photographs that inspire and expand people’s experience of the world. I use my camera to document and explore unique perspectives and anomalous subjects, drawing the viewer’s attention to unseen details, vibrant colors, and distinctive compositions. My photographs invite people to think differently and to see even commonplace things in new ways
I make photographs that inspire and expand people’s experience of the world. I use my camera to document and explore unique perspectives and anomalous subjects, drawing the viewer’s attention to unseen details, vibrant colors, and distinctive compositions. My photographs invite people to think differently and to see even commonplace things in new ways
Lunjia Hu
Extremely Expensive Sandwhich Downtown LA
ljh172016@gmail.com 858 3339744
8550 Costa Verde Blvd Apt. 5312 SAN DIEGO CA United States 92122
Lunjia Hu is an artist interested in the play between order and chaos. It gave them anxiety and questions on what it means to truly capture beauty and truly express something in art. They gradually noticed many things that connect to anxiety in people's minds. These preexisting conditions lead them to explore the otherness through broken and dancing colors, pure black, and how it guides the gaze of the audience, to dance in the constrict of shapes and morph the figures into what the audience desires. Lunjia Hu is an international student studying science. When sustaining high demands on academic performance, they found themself yearning for something more substantial, more in the present time. Instead of researching for universal facts for decades in academic, they engage with local sceneries, values, and the meaning behind beauty and expression. They attempt to release the stereotyped paths of the foreign identity, and sense fulfillment through deep flows of who people are in arts.
ljh172016@gmail.com 858 3339744
8550 Costa Verde Blvd Apt. 5312 SAN DIEGO CA United States 92122
Lunjia Hu is an artist interested in the play between order and chaos. It gave them anxiety and questions on what it means to truly capture beauty and truly express something in art. They gradually noticed many things that connect to anxiety in people's minds. These preexisting conditions lead them to explore the otherness through broken and dancing colors, pure black, and how it guides the gaze of the audience, to dance in the constrict of shapes and morph the figures into what the audience desires. Lunjia Hu is an international student studying science. When sustaining high demands on academic performance, they found themself yearning for something more substantial, more in the present time. Instead of researching for universal facts for decades in academic, they engage with local sceneries, values, and the meaning behind beauty and expression. They attempt to release the stereotyped paths of the foreign identity, and sense fulfillment through deep flows of who people are in arts.
Mandayam Thirunarayanan
Skull of An Alien
The artist photographs patterns of art that he finds in leaks, smudges, spills, and splatter on walking surfaces. He calls his collection "Art That People Step On " because many people step on these patterns of art as they walk.
So.e of these patterns are also formed by erosion and even bird droppings.
The artist photographs patterns of art that he finds in leaks, smudges, spills, and splatter on walking surfaces. He calls his collection "Art That People Step On " because many people step on these patterns of art as they walk.
So.e of these patterns are also formed by erosion and even bird droppings.
Denise Hawkins
Pete's Service
Denise is an award-winning photographer whose imagery is gaining attention on the regional and national stage through exhibits and art festivals.
Denise’s artistic journey over the last 10 years has been the result of a near-death health crisis and recovery. As a result of her health challenge, her outdoor-active lifestyle was curtailed for a time. She picked up her camera as a way to get outside, validate a yearning for artistic expression, and compensate for the activities she could no longer do while recovering.
Denise’s current photographic style, centered around Western landscapes, backyard wildlife, and abandoned architecture, is based on an emotional response to visual composition. She aspires to capture the subtleties of pattern, form, and proportion as painted by natural light and contrast. Accentuated by strong compositional values, these scenes and snippets of time are made permanent. Denise looks for the extraordinary in the ordinary, the unusual in the usual. Her work is varied in subject but singular in its goal of depicting the harsh beauty as well as the fascinating decay of common and uncommon sights and sites in the West, with travel that frequently takes her around the State of Wyoming, as well as Colorado, Utah, Arizona and western Nebraska.
Denise is an award-winning photographer whose imagery is gaining attention on the regional and national stage through exhibits and art festivals.
Denise’s artistic journey over the last 10 years has been the result of a near-death health crisis and recovery. As a result of her health challenge, her outdoor-active lifestyle was curtailed for a time. She picked up her camera as a way to get outside, validate a yearning for artistic expression, and compensate for the activities she could no longer do while recovering.
Denise’s current photographic style, centered around Western landscapes, backyard wildlife, and abandoned architecture, is based on an emotional response to visual composition. She aspires to capture the subtleties of pattern, form, and proportion as painted by natural light and contrast. Accentuated by strong compositional values, these scenes and snippets of time are made permanent. Denise looks for the extraordinary in the ordinary, the unusual in the usual. Her work is varied in subject but singular in its goal of depicting the harsh beauty as well as the fascinating decay of common and uncommon sights and sites in the West, with travel that frequently takes her around the State of Wyoming, as well as Colorado, Utah, Arizona and western Nebraska.
Second Place
Third Place
Honorable Mention
Honorable Mention
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