Bio

Michael Krasinski’s unique photographic vision has evolved from his lifelong experience as a photographer combined with his appreciation of structure and  study of mathematics and geometry. “The geometry in nature inspires me to construct a new reality,” says Krasinski, a reality that explodes the boundaries of the traditional picture.

Born in 1975 in East Williston, New York, Krasinski has been an avid photographer since he held his first camera. But it was not until his early years at high school that he began to move beyond the four edges of the picture into a whole new dimension of photography. Taking multiple photographs of a subject, Krasinski deconstructs a landscape and then creates his own, subjective reality, highlighting the subject matter and insinuating other elements into the background.
 
In 1997, Krasinski earned a bachelors degree in engineering at the Stevens Institute of Technology. He moved to Boston in 1999  to pursue further opportunities. He also traveled extensively, visiting such diverse places as San Francisco, the Canary Islands, Portugal, and Iceland  in order to find inspiration for his photography.

Today, Krasinski continues to refine his unique brand of photography and to explore new concepts. 

Artist’s Statement

“The two halves of my brain are engaged in a constant battle for control.  My thoughts shift quickly between the methodical and the fanciful in a never-ending dance of neurons.”

“My work begins in my left brain with a focus on a single point or points of interest. Then my right brain takes over, and a single point cascades into an alternate reality where perception is subjective and continuity is an illusion.

“I do not select subject matter; rather, a subject demands my attention with its visual array of complexities, or because it strikes a vivid emotion.”

“Creation happens in two phases: photo gathering and assembly. Once I have found a subject, I take a few hundred pictures in a short time, trying to capture the underlying structure of the scene in the many individual frames.  During assembly, I develop all the photos, and begin the layout with a single focal point. I then use interlocking frames to rebuild the structure into a subjective image that conveys the emotion to the viewer.”

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