Artist Interview: “Rather than “thinking outside of the box,” create a mindset that there is no box.” -Ed Emrich
By Ludmila Rishkova
Jan. 10, 2011
Ed Emrich is a New York photographer Mila met in Montreal last summer. We liked him so much we featured him twice. In this interview, he talks about his art, his medium, but also about the paths he took in order to become the rising artist he is today.
Mila: Considering your attorney background, what made you turn to art and how did you go about it?
Ed Emrich: Being an attorney has been a very rewarding job, but it also requires that you think in a very structured way that sometimes can be confining. I needed an outlet for my imagination where there are no rules or boundaries, and also to have fun. A good friend of mine owned an art gallery, and I thought “wouldn’t it be great to be part of that world?” I ultimately became his partner in Magnan Emrich Contemporary, a contemporary Latin American art gallery in the Chelsea section of Manhattan. Although I no longer own the gallery, it was a terrific way to see some cutting edge art, meet some interesting people and travel to various parts of the world. During that time, I learned some important lessons about the conceptual side of art and the need for an artist to maintain the uniqueness of his or her work. My photography skills at that point were at their infancy stage. I was never taught how to take good shots, it just came naturally to me. After a while, I realized that I was producing professional quality work that for the most part was completely unique. As my confidence grew, so did my passion for creating works of art.
M: Is there a medium you’ve always wanted to try or that you would like to try but haven’t gotten around to it?
E: One of the things that sets my photography apart from others is my extensive use of reflections. Very often, my images look more like paintings than they do photos because reflections can impart a surreal or impressionist quality that is lacking in the original object of the photo. In fact, you hit the nail on the head in your last article about my work when you observed with respect to my Eye on the Plaza image that as a result of the inverted reflections, “the buildings thus gain a sleepy, dreamy quality.” Each image I create is an attempt to enhance the visual appeal of the object by making it more interesting or more beautiful by one form or another of distortion. Distortions are a way to dispense with the usual rules of physics, so that the ordinary becomes unique. Different mediums create entirely different effects, because, for example, glass is flatter than water and does not have the ripples that are caused by motion. I am always experimenting with different surfaces to create new effects, and I have made some surprising discoveries that will be featured in my future work.
M: What fuels your imagination?
E: My imagination is fueled by the thousands of reflections that are in our immediate environment every day, but which most people either fail to see or are conditioned to ignore. Once you realize that reflections enable us to discard all of the usual rules that stifle our imaginations, there is no end to what is possible to capture through photography. I get tremendous satisfaction in presenting an image to the viewer in a way in which it usually has never been seen before. Rather than snap a picture to merely record what everyone else sees, I prefer to reinterpret the image in my own unique way, much like a painter does. For that reason, I view my camera as a paintbrush that can be used in countless ways.
M: Who are your influences, and if you were to compare yourself to an artist, who would it be?
E: My influences are the artists who ignore all rules and conventions and portray the world exactly as they see it and feel it, such as Picasso, Van Gogh, Dali and Kandinsky. Interestingly, these are all painters, not photographers, which may help to explain why my images tend too look more like paintings than photographs. While the work of these great artists may not be as in vogue as it used to be, no one can question their genius and the tremendous impact that they have had on all who have followed them. I have difficulty, however, comparing myself to any one artist because I do everything possible to make my work completely original, and I also enjoy creating a variety of styles.
M: Do you have a favorite piece of artwork of your own?
E: Choosing a favorite image of my own creation is like asking a parent which of their children they like better. Each has its own virtues and stands on its own merits, but if I had to pick one I would say that I am most proud of the Eye on the Plaza photo featured in your first article about my work. That is a photo where everything came together almost magically.
M: Do you have any advice for young artists?
E: My advice for young artists is very simple: Experiment until you find out what sets you apart from all other artists, and then passionately put all of your energy into becoming the best in your specific niche of the art world. Originality is everything, so rather than emulating others, try to create your own brand of art that has never been done before. And rather than “thinking outside of the box,” create a mindset that there is no box. Simply stated, there are no rules in creating art. Nobody ever succeeded in the art world by being conservative, so let loose your creative energy and don’t be afraid to make mistakes. Finally, never be satisfied with what you have accomplished because there is always a way to expand your horizons and improve your art.
M: Can you tell us anything about your current projects and future plans?
E: I am at a very exciting stage of my artistic career because I am finally at a point qualitatively and quantitatively where I am ready to seek representation by galleries and art consultants. Up until now, although I have had some well-received solo shows in New York City and published a photography book, I have done it on my own. I have worked extremely hard this year putting together a large and diverse body of work that is waiting to be seen by the public. I have also branched out into a variety of mediums and styles that have enabled me to show more variety in my work. My latest series is a unique blend of expressionism, architecture, and, of course, reflections.
To see examples of Ed's work, read our First and our Second articles on this talented artist.