TOM CHAMBERS- DIGITAL ARTIST DIGITALARTMUSEUM.COM

Artist's Statement:

I try to nurture the psyche to a level where the technique becomes second nature, so the subconscious prevails over the conscious (the physical doing). For me, this is where this quality called, 'creative', or the ability to make 'art', is found within all of us.
Technique is only a means to that end, but many would-be artists flounder, because they have become good craftsmen only, by mastering just the technique and not themselves (their subconscious). Once this subconscious comes to the forefront with a medium, and in this case, digital, the image or the incorporation of the image as a part of a whole, transcends the medium and becomes 'truth' for its creator. In other words, the image itself or as an item, has no significance. What is significant is the ability of the artist's subconscious to offer 'truth' through the image or the incorporation of the image as a part of a whole to evoke viewer response and effect change, whether it's within the subtleties of a straight-forward image or within a blatant juxtaposition of an image with other media.

Biography:

Tom R. Chambers is a documentary photographer and visual artist with over thirty "real" world exhibitions in the United States, Zimbabwe and South Korea and several "virtual" world exhibitions. He is self-taught with numerous photo/visual arts workshops and arts public programming to his credit. He founded and directed a photography gallery, Viewpoint, which catered to nationally-known photographers and was mentioned in American Photo Magazine. Many of his projects are now a part of various archives around the world, and he's currently working with digital
manipulation as an art form under the namesake of New Directions. He's heavily involved on the Internet, having initiated and coordinated two hyperlinked photo exhibitions for PhotoForum and under the auspices of the Rochester Institute of Technology. He's also teaching documentary photography at various Web sites. A few of his "real world" exhibitions follow:

"People To People" (two-person show), Kumho Art Center, Kwangju, South Korea (accepted as a part of the Kumho Art Foundation Archives Permanent Collection), 1997.

"Variations On The Dan Mask" (solo show), National Gallery of Zimbabwe, Harare, Zimbabwe, Africa (by invitation), 1995.

"Southwest Of Rusape: The Mucharambeyi Connection "solo show), Corridor Gallery, United States Information Service (USIS), Harare, Zimbabwe, Africa (grant - United States Government ; and accepted as a part of the USIS Archives Permanent Collection), 1995.

"Parents (Mothers 45s)" (group show), Museum of Contemporary Art, Wright State University, Dayton, Ohio, U.S.A. (selected through national competition),
1992.

"Descendants/350" (solo show), Rhode Island State Archives, Providence, Rhode Island, U.S.A. (accepted by the Secretary of State as a part of the Rhode Island State Archives Permanent Collection), 1991.

"Hot City" (solo show), Corridor Gallery, Rhode Island Hospital Trust National Bank, Providence, Rhode Island, U.S.A. (grant - Rhode Island Hospital Trust National Bank; accepted as a part of the City of Providence Archives Permanent Collection; and received a Mayors Proclamation), 1989.

"Dyer Street Portraiture" (solo show), The Silver Bullet Gallery, Providence, Rhode Island, U.S.A. (listed in the OENotable Exhibitions section of American Photo magazine, March, 1986), 1986.


		Artist's Statement: I try to nurture the psyche to a level where the technique becomes second nature, so the subconscious prevails over the conscious (the physical doing). For me, this is where this quality called, 'creative', or the ability to make 'art', is found within all of us. Technique is only a means to that end, but many would-be artists flounder, because they have become good craftsmen only, by mastering just the technique and not themselves (their subconscious). Once this subconscious comes to the forefront with a medium, and in this case, digital, the image or the incorporation of the image as a part of a whole, transcends the medium and becomes 'truth' for its creator. In other words, the image itself or as an item, has no significance. What is significant is the ability of the artist's subconscious to offer 'truth' through the image or the incorporation of the image as a part of a whole to evoke viewer response and effect change, whether it's within the subtleties of a straight-forward image or within a blatant juxtaposition of an image with other media. Biography: Tom R. Chambers is a documentary photographer and visual artist with over thirty "real" world exhibitions in the United States, Zimbabwe and South Korea and several "virtual" world exhibitions. He is self-taught with numerous photo/visual arts workshops and arts public programming to his credit. He founded and directed a photography gallery, Viewpoint, which catered to nationally-known photographers and was mentioned in American Photo Magazine. Many of his projects are now a part of various archives around the world, and he's currently working with digital manipulation as an art form under the namesake of New Directions. He's heavily involved on the Internet, having initiated and coordinated two hyperlinked photo exhibitions for PhotoForum and under the auspices of the Rochester Institute of Technology. He's also teaching documentary photography at various Web sites. A few of his "real world" exhibitions follow: "People To People" (two-person show), Kumho Art Center, Kwangju, South Korea (accepted as a part of the Kumho Art Foundation Archives Permanent Collection), 1997. "Variations On The Dan Mask" (solo show), National Gallery of Zimbabwe, Harare, Zimbabwe, Africa (by invitation), 1995. "Southwest Of Rusape: The Mucharambeyi Connection "solo show), Corridor Gallery, United States Information Service (USIS), Harare, Zimbabwe, Africa (grant - United States Government ; and accepted as a part of the USIS Archives Permanent Collection), 1995. "Parents (Mothers 45s)" (group show), Museum of Contemporary Art, Wright State University, Dayton, Ohio, U.S.A. (selected through national competition), 1992. "Descendants/350" (solo show), Rhode Island State Archives, Providence, Rhode Island, U.S.A. (accepted by the Secretary of State as a part of the Rhode Island State Archives Permanent Collection), 1991. "Hot City" (solo show), Corridor Gallery, Rhode Island Hospital Trust National Bank, Providence, Rhode Island, U.S.A. (grant - Rhode Island Hospital Trust National Bank; accepted as a part of the City of Providence Archives Permanent Collection; and received a Mayors Proclamation), 1989. "Dyer Street Portraiture" (solo show), The Silver Bullet Gallery, Providence, Rhode Island, U.S.A. (listed in the OENotable Exhibitions section of American Photo magazine, March, 1986), 1986.
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