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Santa Fe photographer Craig Varjabedian refers to the collection of photos in his new UNM Press book Landscape Dreams, A New Mexico Portrait as his “love letter to the state and its people.” Varjabedian, shooting in black and white, captures images ranging from landscapes such as White Sands (left), a cowboy and his dog (right) and a lowrider in front of the Santuario de Chimayo (center).
Light of enchantment The black and white photography of Craig Varjabedian comes luminously to life in a gorgeous coffee table book, exhibit BY JENNIFER MORELAND
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n 1928, famed photographer Alfred Stieglitz wrote, “They are photographs — pure and simple. My search for more Light — that is the never ending Search.” For contemporary photographer and Santa Fe resident Craig Varjabedian, however, this is not the case. In fact, New Mexico is light, and those searching to find it don’t have to travel far. At sunrise, it’s found in penetrating shades of orange cascading over the New Mexico desert; and at sunset, it’s a deep auburn, or it’s found tinting the Sandia Mountains shades of purple and pink. Quite simply, New Mexican EXHIBIT light is hypnotizing. It’s magical. Dreamlike. Landscape Varjabedian’s first introduction to Dreams, A New New Mexico occurred in 1979 while Mexico Portrait statehood, Varjabedian’s new coffee-table photo driving from California to Ann Arbor, book, Landscape Dreams, A New Mexico Portrait, Mich. He and a college buddy were Opening reception and reveals an exceptional compilation of photographs book signing: returning from a workshop taught by taken by Varjabedian over the past 25 years. Each the late photographer Ansel Adams. 5-7p, Fri., Nov. 23 image, resonating with luminous splendor, is It was during this brief encounter William Talbot Fine Art portrayed in vibrant contrasts of black and white. with the Southwest that Varjabedian 129 W. San Francisco, became engrossed by the beauty of “I choose to photograph primarily in black and Santa Fe, 505.982.1559 the New Mexico landscape. He was white because I have control over the process and I FREE captivated by New Mexico’s vast desert am more aware of the light,” said Varjabedian. valleys, mesas and its rich collection williamtalbot.com In reviewing his work, one cannot help but take of Rio Grande cottonwoods. For note of the striking similarities to the famed him, New Mexico was a perfect blend landscape photographer Ansel Adams. While both of Old World meets new. A place of artists adore the aesthetic relationship between deep deeply-established faith, culture and tradition — and, quite blacks, greys and highlights of brilliant white. Let’s not be unforgettably, it was the place of light. mistaken that Varjabedian’s photographs stand on their own From that moment forward, Varjabedian developed a terms. They maintain a delicate association to the familiar relationship with the Land of Enchantment — a love and the unfamiliar. In many ways, his photographs portray correspondence documented in photographs — that has a new way of seeing, of understanding, of re-familiarizing spanned nearly three decades. oneself with the subject — with New Mexico. In commemorating the 100th anniversary of New Mexico’s The process of Varjabedian’s work is highly contemplative
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LOCAL iQ | ALBUQUERQUE’S INTELLIGENT ALTERNATIVE | NOVEMBER 1-14, 2012
and relies on intuition. “The process is almost like witching for water,” he said. “I’ve witnessed professionals in the South witching for water and their intuition is remarkable. The way in which I work is very similar to that. When I find something that strikes me, I go out and make a photograph of it. Unlike using a handheld camera that I can easily pick up and shoot, my process relies on a deeper connection. It takes far more preparation, determination and patience.” Varjabedian’s subject matter has no bounds. Over the years, he has photographed incredible views of the New Mexico countryside, capturing some of the most mesmerizing arrangements of clouds and sky. His photographic repertoire also extends to historic buildings and ancient ruins; poised ranchers; cultural traditions, seen in “Children Dancers” from Santa Clara Pueblo; and religious symbology, pictured in “Pilgrim Crosses and Leaves” at the iconic Santuario de Chimayó. “When I photograph, I tend to look for two things: Is the image authentic? And does it speak universally? If so, I’m happy with the work,” remarked Varjabedian. Indeed, much of his inspiration is derived from New Mexico, but he also has a flair for luminous painting. Like Varjabedian, some of the earliest luminous painters before him — Frederic Edwin Church and Sanford Robinson Gifford — used the luminous aesthetic as a driving force in their work. In many ways, for luminous artists, the light becomes the subject, rather than the landscape. Landscape Dreams, A New Mexico Portrait demonstrates the intimate portrayal between Varjabedian’s photographic eye and the enchanting New Mexico light. In a compilation of duotone photographs of landscape, portrait and still life, Landscape Dreams, A New Mexico Portrait is a rarity in all sense of the word. “The book is a love letter to the state and its people,” said Varjabedian. In all, his photographs exhibit an adoration, a deeply-rooted friendship, for all that’s beautiful — for all that’s New Mexico.