Sandy Burr

Sandy Burr

Sandy Burr

Sandy Burr grew up in Connecticut and moved to Nashville in 2004. Her focus in life has always centered around creative endeavors with degrees in interior design and graphic design. She continues to work as a graphic designer, art consultant, photo editor and custom framer.

Sandy bought her first SLR camera in the late 90s and when the first digital cameras came out she knew she had found her medium. For her it was the perfect combination of art and technology.

Although she enjoys many different aspects of photography, Sandy continually finds herself drawn to “the small” and usually has her macro lens on her camera. Over the past year she has been working almost exclusively in black and white feeling that “sometimes color get in the way” of seeing what is extraordinary.

More of Sandy’s work can be seen at www.sandyburrphotography.com

“Belle Curves”

I love details. Old Southern structures have been a goldmine for such imagery. The details in this series come from the same Southern home and have a continuity in shape and texture. Looking at these you can almost feel the many layers of paint that have built up to achieve the velvety gloss.

Processed starkly in black and white, the sensuous shapes and forms take the spotlight. The negative space and quality of light provides a graphic quality to this series. There is a sense of timelessness that is imparted from these images. The shapes could be from yesterday, today, or tomorrow.

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“Look Out!”

I’ve always be drawn to photographing doors and windows. Looking in and looking out. The problem was that I was often looking into or out of a nondescript tableau. So I decided to turn some of these into possibilities of what can be. A bit of fantasy and the unexpected.

The “frame” for each scene came first. I enjoyed using images from many of the abandoned structured I have photographed. I imagined that the vistas that could be seen from these portals would be a symbol of a kind of rebirth. So that the viewer could step through and be in a place that could spark the imagination and lead to curious questions. While a few of these scenes are unaltered, most combine imagery from more than one photo.

As with much of my photography I processed these in black and white. I want the viewer to have the freedom to add their own colors and come away with their own vision.

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“Rusted”

A recent trip to an old car grave yard resulted in several images of the sides and hoods of the cars that combined such interesting colors and textures that I knew I had to use them somehow. By themselves they were stunning abstracts but I wanted them to tell a different kind of story.

My solution was to layer other images on top, carefully matching the demographics of both to offer just a little bit of believability to these imaginary vistas. The rusted car doors thus became hills and skies, water and sunrise. The old is transformed to something new that becomes unexpected and can transport the viewer to a new place.

In these pieces I have stepped outside my philosophy that “sometimes color gets in the way” and instead celebrate the glorious colors of these pieces. As a counterpoint to this I have used black-and-white images as my “landscape” so the colors are the stars.

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“The Meadow”

From the sidewalk above it was not a particularly pretty place. A patch of bramble that followed a small creek for a few hundred yards. But it was nearby and accessible and I had a new macro lens to try out. What started as practice turned into a year-long documentation of my “meadow.”

This series of images represent many forays into the meadow in all four seasons and all kinds of weather. Never was I more excited to see rain, ice, and snow.

I knew right away that this series would be in black and white so the focus remained on the shape and texture of these small wonders of nature.

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