Bay Area artist and photographer, Richard Standard, has been showing and exhibiting his work in Northern California for the past 42 years.
Richard has received numerous awards and distinctions in competitions and festivals during that time and has had a number of one-man shows in galleries in Northern California. Selected exhibition credits include: S.F. Arts Festival, Marin County Fair, Sausalito Arts Festival, Marin Arts Guild, Fairfield Suisun Arts Exhibit, Mill Valley Arts Festival, Marin Society of Artists, The Eye Gallery, Michael Bry Gallery, Minx Gallery, Art in the Park -, Bank of Marin Spirit of Color, and Pelican Art Gallery.
Richard Studied Art at Mesa College, San Diego, College of Marin, and S.F. State University. Richard served on the Marin Society of Artists Advisory Council. He is a member and Past-President of the Petaluma Arts Association, and a member of the Petaluma Arts Council.
My Fantasy Realism is an extension of my work in Photorealism which evolved from working in the New Realism movement in the 1970’s. That morphed into using abstract photographs as the subject of large scale Photorealism oils and thus as making the photography an integrated component of the painting process for much of my work – a parallel manifestation. My Fantasy Realism genre typically has cosmic images as part of its subject matter. “Quartet” is the latest and “The Paragon” the first.
Abstract art is all around us. This is the impetus for my visual exploration of reality through the City Skins, Voyager and Artifact series. By focusing our attention on the compositional interactions of objects, colors and textures in a flat plane and using the camera format as the visual framework of that plane, we can explore more of the potential perceptions of reality available to us in any moment. These captured images can then be rotated and manipulated to evoke more nuanced aesthetic responses by changing the relationships of the objects and surfaces. The horizontal scanning nature of the human eyes is essential in this process, as each turn of an image will change the compositional structure and the perceptual aesthetic response to the image. The geometric nature of our “constructed” urban landscape and the “signs” and “markings” have inherent in them an aesthetic sensibility that could trace back as far as the Neolithic. Every day as we walk around in our urban and suburban environment we are immersed in a complex kaleidoscope of images that can be documented and then considered separately as to the particular evocative characteristics of color, texture, and kinetic aspects of the compositions. The journey continues…