Garrett Park Maryland USA


Tim Ruane is an artist, fine arts photographer, and writer. He is a graduate of Georgetown University, where he studied English, and the fine arts. He taught photography at Edmund Burke School in Washington, D.C., and was a chief copy editor in the editorial department of The Washington Post, where he also worked as a freelance photographer. He worked as an editor for the Department of State and as a technical writer for the Department of the Treasury. His photographs have been published by The Washington Post, Simon & Schuster, New York Review Books, The Good Men Project, and Whisperings. He is exhibiting photographs at The Brick Lane Gallery, London (December 2012 to January 15 2013), The Brick Lane Gallery again (February 2013), and at Bryn Mawr Rehab Hospital, Malvern, Pennsylvania (November 2012- January 22 2013). He exhibited photographs at the Potomac Maryland Library (July 2011), at Prudential PenFed Realty, Washington, D.C. (September 2012), He has written hundreds of poems, a number of short stories and has two novels in progress. His poems and essays have been published by The Washington Post, Whisperings, and The Good Men Project. He publishes photographs regularly in The Good Men Project. Mr. Ruane lives and works in Garrett Park, Maryland, just outside Washington, D.C., USA.

Artist’s Statement
I do not aspire to match or better the masters of photography, although I would not mind bettering them all. I want to carry on in the tradition of modern painting: Matisse, the Fauves, the Post-Impressionists, Dada, Abstract Expressionism, Andre Durain, Pierre Bonnard, Modigliani, Johns, Louise Nevelson, Warhol and others. These are my inspirations. There are many, many excellent traditional photographers throughout the world. I, however, do not wish to be like them. I wish to take photography some place it has never been.
I work with a free online photo editing application: Fotoflexer—free because I have no money and Fotoflexer because Google, for reasons unknown to me, disbanded an application, Picnik, an old and true friend of mine.
I edit (manipulate) my photographs aggressively, changing contrast, brightness and hue without hesitation. Sometimes I invert, pixelate and solarize.
I photograph anything my camera can find. I value pictures that are hard to take more than easier ones—action shots more than stills, for example. For technical reasons, I often have a hard time getting the color I want in portraits. I am drawn to the unconventional and the abstract.
As the philosopher is interested in truth, I am interested in beauty. Good art can do many things, but it cannot bore.
As an artist, no more sophisticated than the caveman drawing on his caveman walls, I wish to be unique, but this is impossible. Each human is unique, but each artist is not. Each artist is a thief, pilfering from masters who have gone before him. Post-Impressionists stole from Impressionists. Cezanne stole from Monet. Cubists stole from Fauvists. Braque stole from Matisse. And so on.
My methods are described by Brian Aldiss, who wrote sometime in the last century: “That’s the artist’s role—to strike out always for something new, to break away, to defy, to . . . grapple with the unfamiliar.” These words fit me well. Aldiss—sometimes Brian W. Aldiss, a British author who wrote both general fiction and science fiction, author of “Super Toys Last All Summer Long”—won the Hugo Award twice and the Nebula Award once. I do not know what these awards are, but they sound impressive.
I work with digital photography.

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