George Oeser was born and raised in the Nashville area, and has lived in several other places including the Pacific Northwest, on the Appalachian Trail, and, from 2013 to 2016, in Tilburg, a working class city in The Netherlands. Throughout his life he has been highly interested in subjects including politics, economics, psychology, the arts and architecture. He holds a deep love for all things abstract and avant garde while still appreciating art that is more representational and classical in nature.
While in high school George started taking photographs with old, often times unusual, and practically obsolete cameras (110 cameras, Minox spy cameras, toy cameras). He taught himself the basics of photography and darkroom technique and developed a love for uncommon processes (cyanotypes) and types of film (infrared, instant, etc.).
His relocation to Europe offered him a wide variety of new and unusual subjects to photograph and reignited his interest in modern art and architecture. The move also gave him the time to really explore and experiment. It allowed him to dive more deeply into the world of digital image manipulation and from this came a style that focuses less on arriving at a technically perfect image and more on finding some level of emotion in his images.
My work involves science and technology but that is only one step in my process. I may start with film or a digital sensor to capture an image, but photos are just one of the raw materials I use on the path to the final product. I chop up the images, change their color or contrast, and I identify faults in the original image and decide which ones to correct and which ones to enhance. Some areas are digitally painted, pixel by pixel. Many different versions of each image are created over a period of days or weeks or months, most of them wind up being deleted. Finally I arrive at something that, while it may be inanimate and unfeeling in reality, has some emotion to it. The final image puts ideas in my head and takes me places the original didn’t. Even when I start off with a blank screen instead of a photograph the process is the same. Trial and error, experimentation and failure, persistence and the accidental, these are my primary tools.
If someone asks me what one of my images means I am normally at a loss for an answer. I feel I should be the one asking that question of the viewer. With my work I try to build a foundation and a frame of meaning but I do not finish the walls or the interior. I attempt to create questions but it is up to the viewer to answer them. I invite you to look at my work and use it as a starting point for your own stories. Combine what you are seeing with your own beliefs and memories and experiences and dreams. When anyone views my art they become my collaborators. My work really isn’t complete until you decide it is.