Hombre sin Tiempo, 2002, Toned gelatin silver print with oleopasto glaze
Spencer cites the painter Gerhard Richter as a huge influence, “not in a painterly way, although he is a great painter . . . but in his approach to making art. I think mostly it [is] his refusal to be pigeonholed and locked into a certain style. I have never wanted to be known as a Southern photographer, a flower photographer . . . a landscape photographer or [by] any other moniker that makes it easy to be defined,” says Spencer. “Richter basically said, ‘I will do whatever I feel like doing’. I think there is too much style and shtick these days that artists get caught up in . . . becoming too afraid to change for fear that someone will not approve. My work is quite diverse, and I am especially proud of that.” These days Spencer looks inward for inspiration to create his arresting images. “I think that to be self-inspired is the penultimate for an artist,” says Spencer. “At some point, one has to listen to one's own voice only. It has great secrets to tell if you learn how to listen. Everyone has a distinct voice, but few trust it.” For Spencer, an artist’s intent has a mystical quality and is the primary key to creative expression. He likens artistic intent to “fruit on a magical tree” which
NashvilleArts.com
Gussie's Magnolia, 1995, Gelatin silver print July 2O13 | 31