I came across these beautiful photographs by Romanian artist Ion Zupcu, now living in Hopewell Junction, NY. This series titled Works on Paper was initially inspired by his daughter’s paper models …

For this body of work, Ion Zupcu utilizes the simplest of means. Manipulating sheets of black paper, he creates small sculptural objects that he photographs in natural light. The toned black-and-white photographs that the artist prints himself play on one’s perception of scale and shore up a variety of surprising associations.

About Sepia-toned gelatin silver print, mounted to archival board Signed, dated, and numbered, verso 9 x 9 inches (Edition of 50) 15 x 15 inches (Edition of 30) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. For this body of work, Ion Zupcu utilizes the simplest of means. Manipulating sheets of black paper, he creates small sculptural objects that he photographs in natural light. The toned black-and-white photographs, which the artist prints himself, play on one’s perception of scale and shore up a variety of surprising associations. Ion Zupcu first explored his interest in photography by working in a studio in Romania when he was a young man. A few years later, after getting married and having his first child, Zupcu found himself spending long hours caring for his daughter. With a desire to continue pursuing his interest in photography, he began shooting still-life compositions at home with vases and flowers. It was during this time that he also began researching the work of early 20th-century Modernist photographers in depth, which ultimately influenced his aesthetic a great deal. In 1991 Zupcu moved to New York City to start a new life for himself. His first job was driving a yellow taxi, and it was one his customers, an owner of a black-and-white printing lab, that got him back into the world of photography. Zupcu was hired by the lab owner and quickly learned the tools of traditional darkroom printing. However, it was not until 1993, when he first visited the International Center for Photography in Manhattan and later discovered three Ansel Adams books (The Camera, The Negative, and The Print), that he seriously devoted himself to producing new work. It took seven long years for Zupcu to be reunited with his wife and daughter when, in 1998, they finally were permitted to enter the United States to live in New York City. Their arrival awakened in the artist a fresh sense of purpose and new-found motivation. Up to that point he had been producing primarily landscape photography. However, he now went back to his initial interest in still-life work, and began spending long hours shooting, studying, and mastering the subject matter. His first fully-realized series of photographs in this genre was in 1999 with a group of images simply titled, Flowers. Several other bodies of work soon followed, including photographs depicting bottles, fabric, and eggs, among other objects. To this day Zupcu insists on printing and toning all of his work himself. Since his first solo exhibition in 2000, Zupcu’s photographs have become part of numerous private collections throughout the world, and his work is already represented in such prestigious public collections as the Museum of Fine Arts, Houston; the Detroit Institute of Art, Michigan; and the University of Michigan Museum of Art, Ann Arbor; among others.

Ion Zupcu exhibits his sculpture-based photography in Boston, MA. His work references art history through the clever use of cut paper, wood, and paint.

About Gelatin silver print mounted to archival board Signed and dated, verso 9 x 9 inches (Edition of 15) 15 x 15 inches (Edition of 15) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. For this series, Ion Zupcu continues his works on paper, manipulating sheets of black paper to create small sculptural objects which he then photographs in natural light. With these works, however, rather than sepia toning his prints, Zupcu has chosen to work in pure black-and-white. Ion Zupcu first explored his interest in photography by working in a studio in Romania when he was a young man. A few years later, after getting married and having his first child, Zupcu found himself spending long hours caring for his daughter. With a desire to continue pursuing his interest in photography, he began shooting still-life compositions at home with vases and flowers. It was during this time that he also began researching the work of early 20th-century Modernist photographers in depth, which ultimately influenced his aesthetic a great deal. In 1991 Zupcu moved to New York City to start a new life for himself. His first job was driving a yellow taxi, and it was one his customers, an owner of a black-and-white printing lab, that got him back into the world of photography. Zupcu was hired by the lab owner and quickly learned the tools of traditional darkroom printing. However, it was not until 1993, when he first visited the International Center for Photography in Manhattan and later discovered three Ansel Adams books (The Camera, The Negative, and The Print), that he seriously devoted himself to producing new work. It took seven long years for Zupcu to be reunited with his wife and daughter when, in 1998, they finally were permitted to enter the United States to live in New York City. Their arrival awakened in the artist a fresh sense of purpose and new-found motivation. Up to that point he had been producing primarily landscape photography. However, he now went back to his initial interest in still-life work, and began spending long hours shooting, studying, and mastering the subject matter. His first fully-realized series of photographs in this genre was in 1999 with a group of images simply titled, Flowers. Several other bodies of work soon followed, including photographs depicting bottles, fabric, and eggs, among other objects. To this day Zupcu insists on printing and toning all of his work himself. Since his first solo exhibition in 2000, Zupcu’s photographs have become part of numerous private collections throughout the world, and his work is already represented in such prestigious public collections as the Museum of Fine Arts, Houston; the Detroit Institute of Art, Michigan; and the University of Michigan Museum of Art, Ann Arbor; among others.

Ion Zupcu

About Gelatin silver print mounted to archival board Signed and dated, verso 9 x 9 inches (Edition of 15) 15 x 15 inches (Edition of 15) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. For this series, Ion Zupcu continues his works on paper, manipulating sheets of black paper to create small sculptural objects which he then photographs in natural light. With these works, however, rather than sepia toning his prints, Zupcu has chosen to work in pure black-and-white. Ion Zupcu first explored his interest in photography by working in a studio in Romania when he was a young man. A few years later, after getting married and having his first child, Zupcu found himself spending long hours caring for his daughter. With a desire to continue pursuing his interest in photography, he began shooting still-life compositions at home with vases and flowers. It was during this time that he also began researching the work of early 20th-century Modernist photographers in depth, which ultimately influenced his aesthetic a great deal. In 1991 Zupcu moved to New York City to start a new life for himself. His first job was driving a yellow taxi, and it was one his customers, an owner of a black-and-white printing lab, that got him back into the world of photography. Zupcu was hired by the lab owner and quickly learned the tools of traditional darkroom printing. However, it was not until 1993, when he first visited the International Center for Photography in Manhattan and later discovered three Ansel Adams books (The Camera, The Negative, and The Print), that he seriously devoted himself to producing new work. It took seven long years for Zupcu to be reunited with his wife and daughter when, in 1998, they finally were permitted to enter the United States to live in New York City. Their arrival awakened in the artist a fresh sense of purpose and new-found motivation. Up to that point he had been producing primarily landscape photography. However, he now went back to his initial interest in still-life work, and began spending long hours shooting, studying, and mastering the subject matter. His first fully-realized series of photographs in this genre was in 1999 with a group of images simply titled, Flowers. Several other bodies of work soon followed, including photographs depicting bottles, fabric, and eggs, among other objects. To this day Zupcu insists on printing and toning all of his work himself. Since his first solo exhibition in 2000, Zupcu’s photographs have become part of numerous private collections throughout the world, and his work is already represented in such prestigious public collections as the Museum of Fine Arts, Houston; the Detroit Institute of Art, Michigan; and the University of Michigan Museum of Art, Ann Arbor; among others.

Ion Zupcu exhibits his sculpture-based photography in Boston, MA. His work references art history through the clever use of cut paper, wood, and paint.

:: :: ‘October 30’ Works on paper Ion Zupcu 2004 :: :: ‘August 18’ Works on paper Ion Zupcu 2005 :: :: ‘March 9’ Works on paper Ion Zupcu 2004 :: :: ‘March…

Ion Zupcu is a Romania-born, New York based fine art photographer who elegantly redefines space with paper sheets in his series ‘Works on Paper” created between 2004 and 2006.

Ion Zupcu is a Romania-born, New York based fine art photographer who elegantly redefines space with paper sheets in his series ‘Works on Paper” created between 2004 and 2006.

via http://socks-studio.com/2015/06/16/about-the-domestic-common-ion-zupcus-american-homes-2012/ by Ion Zupcu, titled “american homes”

About Gelatin silver print mounted to archival board Signed and dated, verso 9 x 9 inches (Edition of 15) 15 x 15 inches (Edition of 15) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. For this series, Ion Zupcu continues his works on paper, manipulating sheets of black paper to create small sculptural objects which he then photographs in natural light. With these works, however, rather than sepia toning his prints, Zupcu has chosen to work in pure black-and-white. Ion Zupcu first explored his interest in photography by working in a studio in Romania when he was a young man. A few years later, after getting married and having his first child, Zupcu found himself spending long hours caring for his daughter. With a desire to continue pursuing his interest in photography, he began shooting still-life compositions at home with vases and flowers. It was during this time that he also began researching the work of early 20th-century Modernist photographers in depth, which ultimately influenced his aesthetic a great deal. In 1991 Zupcu moved to New York City to start a new life for himself. His first job was driving a yellow taxi, and it was one his customers, an owner of a black-and-white printing lab, that got him back into the world of photography. Zupcu was hired by the lab owner and quickly learned the tools of traditional darkroom printing. However, it was not until 1993, when he first visited the International Center for Photography in Manhattan and later discovered three Ansel Adams books (The Camera, The Negative, and The Print), that he seriously devoted himself to producing new work. It took seven long years for Zupcu to be reunited with his wife and daughter when, in 1998, they finally were permitted to enter the United States to live in New York City. Their arrival awakened in the artist a fresh sense of purpose and new-found motivation. Up to that point he had been producing primarily landscape photography. However, he now went back to his initial interest in still-life work, and began spending long hours shooting, studying, and mastering the subject matter. His first fully-realized series of photographs in this genre was in 1999 with a group of images simply titled, Flowers. Several other bodies of work soon followed, including photographs depicting bottles, fabric, and eggs, among other objects. To this day Zupcu insists on printing and toning all of his work himself. Since his first solo exhibition in 2000, Zupcu’s photographs have become part of numerous private collections throughout the world, and his work is already represented in such prestigious public collections as the Museum of Fine Arts, Houston; the Detroit Institute of Art, Michigan; and the University of Michigan Museum of Art, Ann Arbor; among others.

Most people take images of other people to preserve memories; I photograph objects to preserve my memories. Ion Zupcu, photographer, was born in Romania in 1960 but emigrated to the United States in the early 1980's. His work incorporates sculpture, abstraction and painting and is influenced, in...

Ion Zupcu Untitled 1999-2000

For this body of work, Ion Zupcu utilizes the simplest of means. Manipulating sheets of black paper, he creates small sculptural objects that he photographs in natural light. The toned black-and-white photographs that the artist prints himself play on one’s perception of scale and shore up a variety of surprising associations.

Ion Zupcu is a Romania-born, New York based fine art photographer who elegantly redefines space with paper sheets in his series ‘Works on Paper” created between 2004 and 2006.

:: :: ‘October 30’ Works on paper Ion Zupcu 2004 :: :: ‘August 18’ Works on paper Ion Zupcu 2005 :: :: ‘March 9’ Works on paper Ion Zupcu 2004 :: :: ‘March…

About Sepia-toned gelatin silver print, mounted to archival board Signed, dated, and numbered, verso 9 x 9 inches (Edition of 50) 15 x 15 inches (Edition of 30) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. For this body of work, Ion Zupcu utilizes the simplest of means. Manipulating sheets of black paper, he creates small sculptural objects that he photographs in natural light. The toned black-and-white photographs, which the artist prints himself, play on one’s perception of scale and shore up a variety of surprising associations. Ion Zupcu first explored his interest in photography by working in a studio in Romania when he was a young man. A few years later, after getting married and having his first child, Zupcu found himself spending long hours caring for his daughter. With a desire to continue pursuing his interest in photography, he began shooting still-life compositions at home with vases and flowers. It was during this time that he also began researching the work of early 20th-century Modernist photographers in depth, which ultimately influenced his aesthetic a great deal. In 1991 Zupcu moved to New York City to start a new life for himself. His first job was driving a yellow taxi, and it was one his customers, an owner of a black-and-white printing lab, that got him back into the world of photography. Zupcu was hired by the lab owner and quickly learned the tools of traditional darkroom printing. However, it was not until 1993, when he first visited the International Center for Photography in Manhattan and later discovered three Ansel Adams books (The Camera, The Negative, and The Print), that he seriously devoted himself to producing new work. It took seven long years for Zupcu to be reunited with his wife and daughter when, in 1998, they finally were permitted to enter the United States to live in New York City. Their arrival awakened in the artist a fresh sense of purpose and new-found motivation. Up to that point he had been producing primarily landscape photography. However, he now went back to his initial interest in still-life work, and began spending long hours shooting, studying, and mastering the subject matter. His first fully-realized series of photographs in this genre was in 1999 with a group of images simply titled, Flowers. Several other bodies of work soon followed, including photographs depicting bottles, fabric, and eggs, among other objects. To this day Zupcu insists on printing and toning all of his work himself. Since his first solo exhibition in 2000, Zupcu’s photographs have become part of numerous private collections throughout the world, and his work is already represented in such prestigious public collections as the Museum of Fine Arts, Houston; the Detroit Institute of Art, Michigan; and the University of Michigan Museum of Art, Ann Arbor; among others.

Most people take images of other people to preserve memories; I photograph objects to preserve my memories. Ion Zupcu, photographer, was born in Romania in 1960 but emigrated to the United States in the early 1980's. His work incorporates sculpture, abstraction and painting and is influenced, in...

I came across these beautiful photographs by Romanian artist Ion Zupcu, now living in Hopewell Junction, NY. This series titled Works on Paper was initially inspired by his daughter’s paper models …

Ion Zupcu is a Romania-born, New York based fine art photographer who elegantly redefines space with paper sheets in his series ‘Works on Paper” created between 2004 and 2006.

Ion Zupcu exhibits his sculpture-based photography in Boston, MA. His work references art history through the clever use of cut paper, wood, and paint.

:: :: ‘October 30’ Works on paper Ion Zupcu 2004 :: :: ‘August 18’ Works on paper Ion Zupcu 2005 :: :: ‘March 9’ Works on paper Ion Zupcu 2004 :: :: ‘March…

About Sepia-toned gelatin silver print, mounted to archival board Signed, dated, and numbered, verso 9 x 9 inches (Edition of 50) 15 x 15 inches (Edition of 30) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. For this body of work, Ion Zupcu utilizes the simplest of means. Manipulating sheets of black paper, he creates small sculptural objects that he photographs in natural light. The toned black-and-white photographs, which the artist prints himself, play on one’s perception of scale and shore up a variety of surprising associations. Ion Zupcu first explored his interest in photography by working in a studio in Romania when he was a young man. A few years later, after getting married and having his first child, Zupcu found himself spending long hours caring for his daughter. With a desire to continue pursuing his interest in photography, he began shooting still-life compositions at home with vases and flowers. It was during this time that he also began researching the work of early 20th-century Modernist photographers in depth, which ultimately influenced his aesthetic a great deal. In 1991 Zupcu moved to New York City to start a new life for himself. His first job was driving a yellow taxi, and it was one his customers, an owner of a black-and-white printing lab, that got him back into the world of photography. Zupcu was hired by the lab owner and quickly learned the tools of traditional darkroom printing. However, it was not until 1993, when he first visited the International Center for Photography in Manhattan and later discovered three Ansel Adams books (The Camera, The Negative, and The Print), that he seriously devoted himself to producing new work. It took seven long years for Zupcu to be reunited with his wife and daughter when, in 1998, they finally were permitted to enter the United States to live in New York City. Their arrival awakened in the artist a fresh sense of purpose and new-found motivation. Up to that point he had been producing primarily landscape photography. However, he now went back to his initial interest in still-life work, and began spending long hours shooting, studying, and mastering the subject matter. His first fully-realized series of photographs in this genre was in 1999 with a group of images simply titled, Flowers. Several other bodies of work soon followed, including photographs depicting bottles, fabric, and eggs, among other objects. To this day Zupcu insists on printing and toning all of his work himself. Since his first solo exhibition in 2000, Zupcu’s photographs have become part of numerous private collections throughout the world, and his work is already represented in such prestigious public collections as the Museum of Fine Arts, Houston; the Detroit Institute of Art, Michigan; and the University of Michigan Museum of Art, Ann Arbor; among others.

Esta vez nos toca hablar de Ion Zupcu, el fotógrafo minimalista que trabaja en el género del bodegón artístico.