I had the pleasure of interviewing the awesome Greg Sand about his altered found photographs.

1. Tell us a bit about yourself and how you became an artist? What inspires you to create?

I drew and painted for fun as a child. I was interested in art, but it wasn’t until college that I developed a conceptual side to my work. A darkroom photography course is what really set me on my path to becoming an artist. I loved it and went on to take many other analog and digital photography courses. At this time, I also discovered my love of old snapshots and portraits, which are a huge inspiration to my work. They say so much about time and memories, and they often produce a sense of sadness and disorientation in me. There is no matching the history already present in a found photograph.

2. Did you study part or are you self taught? What are your thoughts on art education?

I received my BFA in Studio Art with a Photography Concentration from from Austin Peay State University. I think pursuing an art education can be a very formative experience that exposes an artist to new concepts, approaches, and viewpoints.

3. What is the most challenging or surprising aspect of being an artist?

I find the biggest challenge to be figuring out what I want to work on next.

4. Are there any drawbacks to your practice, or anything you’d want to change about the artistic community? Do you think that the artistic industry is in a good place right now, and how do you think it will change over the next few years?

What I’m very excited about in the artistic industry is that more diverse voices and points of view are being represented. Women, members of the LGBTQ community, and people of color are getting more opportunities than they once did. There’s a lot of great work coming from many unique backgrounds and experiences. I expect this to continue in the coming years, which gives me a lot of hope about the future of the art world.

5. Nowadays, we are inundated with both amazing and mediocre imagery. Does this concern you and how do you manage to stay motivated to create in such a crowded environment?

It doesn’t concern me. I think having access to so much art is a great thing to stay inspired. I just focus on making my work and staying true to my artistic approach.

6. What do you think about social media? Is it helpful to photographers and how has it impacted your practice? Is it something you enjoy?

Again, I think the amount of art and other creatives that social media allows artists to access is amazing. I think it can provide inspiration and exposure. I don’t think it has directly affected my approach to art, but it has helped me make many great connections.

7. I find your work to be very profound, and when I first saw it, I was really amazed by the concepts you explore throughout your different series. In your statement, you describe your work as being about “memory, the passage of time, mortality, and the photograph’s role in shaping our experience of loss. Photography’s unique ability to capture a fleeting moment allows it to expose the temporality of life”. Why do you think that photography is a good medium of choice to explore such topics? Why do you think you are drawn to such themes?

Photography has long been considered a direct and unmediated representation of the truth. (Although, this is less true in today’s digital world.) I use this notion of truth in my work as a starting point. A photo may show a graduating class from the 1920s. The truth presented in the photo is that these young people are alive and full of potential with their whole lives ahead of them. However, in reality everyone in the photo is dead or close to death. It is these conflicting truths that interest me. I’m not sure when it started, but the nature of reality, including time and death, was something that was often on my mind long before I decided to enter the field of photography. I think it has something to do with my introverted and contemplative nature.

8. Themes of mortality and loss are quite universally felt and explored through art. Do you think that there are any topics that photography can’t explore?

I think photography has the ability to take on any topic.

8. Your statement also contains a quote from Roland Barthes Camera Lucida, which really intrigues me. Do you think that reading photography theory is important for photographers? Do you have any reading suggestions for photographers, or artists?

It may depend on the photographer and their approach, but I think reading photography theory can be very illuminating. I would recommend Camera Lucida by Roland Barthes, On Photography by Susan Sontag, Art & Death by Chris Townsend, and The Ontology of the Photographic Image by André Bazin.

9. You work mainly with found photographs, which gives your work a very nostalgic feel. At what point did you realise that you liked working with found images rather than taking your own and how do you go about collecting such imagery?

I figured this out during college. My love of found photos was growing at the same time I was discovering digital photography and manipulation. Eventually, the two merged, and after a while I realized that I was more interested in my work that developed from found photography. I collect found imagery from antique stores, flea markets, and eBay.

10. You have several series of work. Can you take us through the process of creating a series? At what point does your initial idea become the catalyst for a series and how do you know when a series is done? How do you make sure that each series is different and that you’re not repeating yourself?

I always work in a series. Therefore, when I come up with an idea, I’m already thinking of it in terms of a larger body of work. I build each series to enough pieces to communicate the message without being too repetitive. It’s not an exact science; I just try to get to what feels right. However, repetition is a big part of my approach. Most of my series are variations on a similar theme. This makes my overall body of work very cohesive, but the subtle differences between series keep me interested in making the work. I hope it keeps the viewer interested in looking at the work.

11. You have a lot of work in which people are missing from the frame of an image. What do you think that an empty landscape says about the human condition and have you ever thought about exploring the way we experience loss of places as well as people? Also, do you think that the visually reflective nature of water adds an aesthetic touch to the idea of reflecting upon loss?

I use the emptiness in my work to make the photographs about the absence of the subject rather than about the subject itself. The removal of the subject – who is very much alive in the photograph – forces the photograph to more truthfully depict a present reality in which the subject no longer lives. I have not thought about exploring the loss of places, but I think that could be very interesting work, especially as it relates to climate change. Yes, I do think that reflections in water serve as a metaphor for reflections on loss in some of my work. I also consider it a symbol for life, transformation, and change of state.

12. How important are aesthetics in your work? Do you know exactly want you want an image to say or do you leave room for ambiguity?

I would say my work is generally much more about concepts than aesthetics. However, I do think the imagery that I source helps create a consistent visual style. I know what I’m trying to explore at the outset of creating a series, but I think there is room for ambiguity. The work becomes its own entity that can take on different meanings for the viewer.

13. Mortality, death and loss are quite a heavy topics to explore. Why do you think that a lot of people might shy away from exploring these and do you think they are something society should talk more about?

I think these are topics that many people are uncomfortable to dwell on, which I understand, but I do believe that reflecting on and talking about our mortality is important and can actually help us appreciate the time we do have.

14. Would you say that you have a certain style? If so, how would you describe it?

I would say my work is conceptual and often has a hint of surrealism. It is subtle, quiet, and somber.

15. Do you have a favourite image that you’ve created? If so, what is it and why is it your favourite?

My current favorite is Chronicle: Passing (6,393 Per Hour). Working at that scale was a departure for me, and I think its size and density of imagery help capture the overwhelming scope of humanity and human history.

16. In your opinion, what make a good piece of art? What was the last image/piece of media that captivated you and what was it about it that left an impression on you?

I am often drawn to conceptual work or art that has something to say. I was completely captivated by Kehinde Wiley’s Rumors of War. It so perfectly subverts Confederate sculptures and challenges their portrayals of power and heroism.

17. How often do you consider the viewer when creating images? Do you create work for yourself or for others?

Art is about self-expression, but I always consider how the viewer may interpret the work.

18. How often do you search for inspiration and do you ever feel pressure to create work as your career has progressed?

I find inspiration everyday, often from little things like an Instagram post from an artist or just digging through my found photography collection. I don’t think I usually feel pressured to make work. I enjoy making art and just want to keep making it.

19. If you had unlimited time, space and funds, what would be a dream project you’d like to shoot?

If I had unlimited time, space, and funds, I would create a version of Chronicle: Passing (6,393 Per Hour) that represents the approximately 151,600 deaths that occur every day.

20. What are you currently working on at the moment, and where can people find more about you and your work?

I’m working on pieces that are somewhat similar to my Chronicle series, except they employ color found photography and are more abstract. People can go to gregsand.net or follow @gregsandartist on Instagram.