Lives and Works in USA

Even though Patrick Walsh uses a camera for his artwork, he doesn’t think of himself as a photographer, nor would he call the resulting pieces “photography.” Instead Walsh approaches his work as a painter might, and paints with the camera itself. The camera is the paintbrush and the photographs are the brushstrokes of his Photo-mosaics: large-scale ruminations on people, places and things that he filters through the camera lens, then pieces together. The end results -- flattened out images that show us what we only perceive in our peripheral vision -are rendered much deeper and broader than the sum of their original parts. Walsh, who studied graphic design and advertising at the Parsons School of Design in his native New York City, and who painted as a hobby, created his first piece over thirty years ago when he was location scouting for a feature film. He discovered a location that could not be captured in a single image. So, he shot many, using a Kodak instant camera, and stapled the photographs together.

 

 

 

4. BUSTER AND HIS TRUCK, AMBOY, CA, 1989 PHOTOMO0SAIC 88 X 100 CM / 34½ x 39½ in
  US$ 2900

5.PORT TOWNSEND LIGHT - PORT TOWNSEND, WASHINGTON, 1995 PHOTOMO0SAIC
88 X 100 CM / 34½ x 39½ in
  US$ 2900

6. LONG ALLEN BRIDGE, MORGAN CITY, LOUISIANA, 1993 PHOTOMO0SAIC
88 X 100 CM / 34½ x 39½ in
  US$ 2900

7. CIMA GENERAL STORE, CIMA CA, 1994 PHOTOMO0SAIC
88 X 100 CM / 34½ x 39½ in
  US$ 2900

8.THE OFFICE - RHYOLITE, NEVADA, 1996 PHOTOMO0SAIC
88 X 100 CM / 34½ x 39½ in
  US$ 2900

9. ABANDONATED BARN IN TALL GRASS - IDAHO, 1996 PHOTOMO0SAIC
88 X 100 CM / 34½ x 39½ in
  US$ 2900

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The result intrigued him and Walsh soon found himself making deliberate forays into the Southwestern desert and along windswept Pacific coastlines to find subjects for his art. Each time Walsh pieces together countless photographs that he has shot to create a single image, he tells a new story. His subjects are as varied as Dennis Connor fronting his sailboat, an empty baseball stadium, the desert or a verdant rain forest. And while the end result may feel spontaneous, the process is anything but, says Walsh. Each location is carefully considered, re-visited, and the work is thoroughly thought out before Walsh opens his aperture to gather the images. For instance, for a piece commissioned by the Los Angeles Dodgers - a photo-mosaic of the empty stadium - Walsh shot 26 rolls of film for a piece that turned out to be 11 feet long. That commission led to another, by the Baltimore Orioles. The resulting 7 foot long photo-mosaic of the new Camden Yards was featured at the ball club’s reception for the All Star game. Both works now hang in the stadiums’ private clubs. For instance, for a piece commissioned by the Los Angeles Dodgers - a photo-mosaic of the empty stadium — Walsh shot 26 rolls of film for a piece that turned out to be 11 feet long. That commission led to another, by the Baltimore Orioles. The resulting 7 foot long photo-mosaic of the new Camden Yards was featured at the ball club’s reception for the All Star game. Both works now hang in the stadiums’ private clubs. Once the film is shot, Walsh shapes the experience with the photographs. “I’m creating a composition with multiple photographs and yet within those photographs there will be a beautiful one all by itself. I’ll put it into the mix. The overall impression is what matters to me,” says Walsh. “I want you to step into that picture, it’s like a window. I want you to feel you’re there.” In addition to his Photo-mosaics, Walsh has a distinguished career as a director and producer in the advertising industry. He has won eight “Clios,” four “Cannes Lions,” an Emmy nomination and over 300 additional industry honors including two films in MOMA’s Permanent collection. Walsh’s work has appeared in museums, galleries and private collections internationally

Born: New York City, 1939. Education: High School of Music & Art, Major: Art, New York City. Parsons School of Design, Major, Graphic Design, New York City

COLLECTIONS
Los Angeles Dodger Baseball Organization, Los Angeles, California, Baltimore Orioles Baseball Organization, Baltimore, Maryland, Mother Road US 66 Museum, Barstow, California, Western America Railroad Museum, Barstow, California, Embassy of Brazil, Rome, Italy, New Orleans Museum of Art, (Temporary Exhibit), 1997
ONE MAN EXHIBITIONS
Nathanson’s Fine Art Photo Gallery, Santa Monica, CA 2000-2001. JazCaf Gallery, Rome, Italy, 2000. Invisible Dog Gallery, New York City, 1998. BBDO Corporate Gallery, New York City, 1991. DMB&B Corporate Gallery, New York City, 1989. Marylou’s Exhibit Gallery, New York City, 1987.