Before I painted I was a studio * photographer working mostly with artificial light. I created magic and illusion by manipulating light through my bellows on a large format camera in my commercial photography studio on West 21 st., NYC. I was and had to be in total control of the elements of light and time. This I did for clients such as: Revlon, Avon, Colgate Palmolive, Warner Communications and many more corporate accounts.
While studying holography in the early 80's I encountered another kind of light; the laser. It's pure light, no spectrum, just white light. It travels along a tunnel of its own making, negating time and space. It creates a three dimensional image of your subject that floats in front of the film plate like a ghost in a silent vacuum.
In the late 80's I moved my studio away from the Manhattan photo district to Piermont, NY so I could be closer to my baby daughter's smile.This is when I started painting. Also during this time I was a photographer for the Rockland Journal News (a Gannett Publication). Now there were on illusions, no black capes, no stop watches to measure the time on my exposures. I went from a world of total control to total chaos, the reward being your work is published within hours. But just as fast, your best shot is soon lining the bottom of a bird's cage or tossed in the recycling bin.
In my still photos I try to define space and color and freeze time in another dimension. In my paintings I try to release light as does a mirror.
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Marcia Gerardi Studio
38 West 21st Street, New York, NY 10010
Operated and established commercial photo studio in Manhattan photo district.
Executed assignments from creative concept through photography to finished
print. Hired and directed graphic artists, models, assistants and other freelance
personnel and talent. Acquired accounts through cold canvassing, client presentation
and direct mail.)
Client list includes: REVLON, COLGATE PALMOLIVE, AVON COSMETICS, KOBRAND LIQUORS, WARNER COMMUNICATIONS, and many more national and international accounts.
