Neil Hollingsworth

I know that it may sound controversial, but I have always felt that photography is yet to prove itself as a real art form. Yes, there are some components, most of which were borrowed from painting -- but can the craft of a photographer, whose most basic skill boils down to pressing the button of his apparatus at the right place at the right time, both of which they often achieve accidentally, be compared to that of an artist holding a brush, with which they try to create new life on another surface? There is no doubt that photographs can induce aesthetic pleasure, but so can nature, or almost anything, after being processed, with a specific intent, in our minds. The effect by itself does not transcend the cause into what we call "art." But, there are artists -- and I mean painters -- who have found a way to reconcile photography and painting*. Thus, "photo-realism" was born. Neil Hollingsworth is a photo-realist painter, and he makes the best of two worlds.




















Neil fully exploits photographic effects: many of his still lives include metallic objects that mirror the minutest details and reflect light with unprecedented precision. Lines and palette enjoy refinement rarely seen in painting; the photographic origins rule out painterly excesses. Despite the overwhelming possibilities, Neil gravitates towards minimalistic, classical compositions, which nevertheless project a piquant off-beat quality. An object will appear far enough from the center to make the displacement notable, but not too far, as to not to encumber the viewing process. Backgrounds, though traditionally secondary, illuminate canvases with subtle but permeating light. These are elusive qualities, and figuring them out may significantly enrich the viewing experience; when combined, along with the more prominent elements, they make up the artist's style. I don't think there is a concession in acknowledging that it is more difficult to define the individual style of a photo-realist artist. But when still trying to do so, and doing so, it may prove to be a more rewarding process than usual, in direct proportion to the invested effort.




















When working within such an idiosyncratic art movement, the choice of a subject matter can also become a challenge. Here restraint and caution serve the artist similarly well. Neil focuses on a few themes and explores them almost religiously. Spheres, one of his favorite subjects, are depicted in numerous variations: transparent, translucent or opaque, in different sizes and settings, they corroborate his dedication on the one hand, presenting a true visual insight on this geometrical object on the other. Other themes include filled or empty glass containers, vintage cars and sliced bread. Regardless of the subject, Neil displays admirable consistency in accuracy of delivery. Eventually, when each painting can posit a visual surprise for the viewer, it is particularly pleasing to recognize that, while studying Neil's artwork, the feeling of surprise can become the less surprising of all.




















Neil Hollingworth lives and works in Atlanta, Georgia, USA. He has displayed his artwork in various galleries across the nation. He is a member of the Daily Painters Guild, and keeps a website and a blog.


*No photographers were harmed during the writing of this review.