Michael Rubin is an experienced photographer with a wealth of images captured by his skilled eye. His work is soft, pensive and makes a seemingly effortless presentation of reality in a broad spectrum.
Advice shared to aspiring writers from experienced ones is, ‘if you want to be a great writer then you must first live’. The same holds true for photographers (and irrevocably all artists). There is a particular sighting that provides an impetus to want to grab a hold of that scene and write it, or capture it visually, for one’s memory, to share with many for a lifetime or more.
This is the goal of every artist, writer, and photographer: To be great by producing a great catalogue of work. Once it is decided that creating a great body of work is a must, the next step to take is making the strides to create one’s own imprint of greatness; something beyond the typical, but not so atypical that the audience will be perpetually stumped. How is such an endeavor achieved? Travelling. Yes. Becoming peripatetic helps inspire ones creative talents, by engaging with people or even being in solitude amongst them. It helps to inspire spontaneity and ultimately defines the style, character, and stories told from words or images.
Michael Rubin’s work does all of this. There is a detailed story that exists within his pictures. Stories captured in an extemporaneous moment that are so striking that the only explanations for such fluid beauty is a passion and experience that produces such instinctive skills.
IN HIS OWN WORDS:“I grew up with photography all around me. University of Florida professor, and surrealist photographer, Jerry Uelsmann taught my mother photography, and she taught me, and eventually I apprenticed myself to him. Uelsmann also inspired my parents to be collectors, which they did. I grew up in what was literally a museum of mid-century modernism, from Adams to Weegee. I always wanted to be a photographer. But my father urged me to pursue other avenues and simply take pictures because I loved it. So I did. I took pictures when I worked for George Lucas, after college, and in my work in Los Angeles. I’ve continuously taken photos—taking a decade long break as I left silver prints and began to explore digital. My current project I call “Kintsugi”, about those cracks that make us more valuable. I’m from Gainesville. I’ve always considered that part of north florida my home—I still return there to see family and friends. I live in the Bay Area now, which is actually where my family has roots, so it’s an odd sort of returning-to-a-place-you’ve-never-been. I like going back to Gainesville. I have another work-in-progress, of trees, and there’s no way to let go of the feeling of the woods around my home. My photography is about my immediate naïve experience and wonder. Travel or look down, there’s always something great to see.”