Being named one of the top 100 emerging fine art photographers by Photographer's Forum magazine for each of the last four years and receiving the grand prize in 2016 from Santa Fe Photography Workshops are just a few of many accolades Denise Tarantino has received. Her work has exhibited internationally and been included in myriad publications, galleries and exhibitions. And, all of this, while she works full-time in data and marketing services.
During her work-related travels, her camera is a constant and pleasurable companion and enables her to capture unexpected roadside curiosities.
In response to a lifelong, serious and disabling bone condition, Denise developed what she calls an "observer's lens," which helps her to see "nuances and humor in places and circumstances which are often overlooked" and, then, to capture them via analog photography - her favorite forms of which are medium format film and Polaroid images.
SC: Denise, I was immediately drawn to the title of your website,
www.roadsidecaching.com
. And then, when I went to your home page, your colorful slideshow made me feel like I was on one of your road trips with you. What a clever way to connect people to your work! What would you like viewers to experience in your photographs?
DT: On my web page for my Roadside Caching series, I write about juxtaposing the serenity of people and nature, angles, and light, and creating mystery, irony and humor in a single photograph. I like viewers to feel as if they were indeed with me when I saw the scene I photographed. I want to show them something they might not have seen and . . . I do like it when they chuckle in response to one of my images. It's fun to see people huddled around a photograph, pointing things out, debating over where they think it was shot, or talking about why someone created what was captured.
SC: I have to tell you that one of my guilty pleasures is watching animal humor videos. When I saw your Reclaimed: Barnyard Portraits, I was indeed laughing. That ostrich! And that toothy goat face! Would you tell me more about this series?
DT: While documenting organic farms in Marin and Sonoma Counties and across California's Central Valley, I noticed animals that were separated from the herd for one reason or another. They were well cared for, but appeared lonely. After photographing in the fields, I would spend time with these critters. Eventually, we developed a kind of mutual trust, a special connection and they appeared more than willing to have their portraits made. The series is shot on a duo-chrome (black and yellow) Polaroid film, no filters. This is a limited release film made by Impossible out of the Netherlands. I wanted to separate my subject from the farm. I felt that making my images feel graphic, like an Andy Warhol image, would add to the qualities I saw within each animal's personality.
SC: You live in San Francisco, to which you have dedicated a series of photographs, but you have said that the focus of your work is man-made creations along rural byways. Why this focus?
DT: When I was in grammar school, my parents grew tired of city life in Newark and moved us to the rural part of New Jersey. I feel that experience fueled my passion for rural America. Now, I do visual research with Google Earth, pick a general area and, if something looks juicy enough, I get in the car and drive there. The more rural the better. It's also important to get lost a few times - that's when you find the REALLY good stuff. And, living in San Francisco gives me easy access to California's farming communities - some of my favorite subjects to photograph.
SC: You also have a series of black & white playground images. How did that series come about?
DT: The series is called State of Play. I created it in partnership with Curated State Gallery and the San Francisco Parks Alliance. I was the featured artist for the 2015 Party in the Parks photography event. I visited the parks that were recipients of playground funding from the San Francisco Parks Alliance. It was a challenging project. I wanted to be sure that I captured the mood of the parks as a visitor. I didn't want it to be too literal so I found myself studying the playground equipment, how children moved, the shadows and sounds, before I started shooting. I listened to the children's noises, to the dogs barking, to the conversations of passers-by. Our parks are such a critical part of living in San Francisco. I wanted to convey that peaceful experience, the solace and warmth I feel in outdoor space.
SC: Would you tell me more about living in San Francisco and, in particular, having a studio at Arc?
DT: Living in San Francisco is like living inside an ever-changing painting. Mother nature brings me a fresh vantage point from hour to hour. San Francisco is unique in bringing a fresh canvas to work from each day. I find myself very aware of our microclimates and what the city offers each day - an experience that never grows old.
I enjoy the Arc community. I feel all the artists in Arc have a passion for the arts and are committed to their craft.
The partners at Arc - Mike, Priscilla, Stephen and Matt - are very active in San Francisco's arts community. Their commitment provides a lot of opportunities to the artists at Arc. I'm grateful to be a part of it!
