I seek to challenge our understanding of the relationship between human development and the natural world. By documenting the hidden impact we have on the land I bring awareness to things that we might not otherwise see. My artwork is both formalistically representational and occasionally abstract. As a geologist I see the many, overlapping layers of the landscape and how the land has been modified by a combination of processes, both natural and manmade. Draped on top of the land itself are mankind’s activities and structures that are collectively called “progress.” Within the subtle beauty of the landscape I like to tease out what man has done to that land and make the viewer wonder what is going on and why. It is yet unclear if all the competing land uses can co-exist and how these changing dynamics will impact the land(scape). The images are fundamentally aesthetic, but leave you questioning the subject matter, providing a springboard for discussion.
(above photo ©Angie Buckley)
I keep my Cessna 206 at Centennial Airport just south of Denver because it is a good jumping off point to easily reach much of Colorado. The airplane is known for being able to carry a large load into short unimproved airstrips, yet is easy to fly and goes moderately fast. I fly over the Eastern Plains often, sometimes several times week. I depart early in the morning and it takes about 30 minutes to reach many of the locations I like to see. Once I get away from the airport and any traffic, I engage my autopilot, prepare my camera, attach it to my shoulder harness and start looking for compositions. When I find something I want to photograph, I open the window and point the camera down at the landscape, look through the viewfinder and start shooting. I like to see my subject from all angles, so I direct the autopilot to turn, generally to the left so I get a better view of the landscape. My first priority is to fly the airplane, so I always keep an ear out to hear any potential change that would indicate a problem The airplane is obviously moving quickly, turbulence bounces the airplance around, and the cameras can be persnickety. It is a balancing act keeping the camera steady in my hands while getting the best composition, I can’t put the lens too far out the window as the slipstream will vibrate it. A lot of things have to come together to make a good picture, and some days go better than others.
I fly over some places again and again, just to see how things change. I also like the challenge of arriving at a new location and looking at it to see what is important, then try to capture that with my camera. Sometimes I do GoogleMaps research beforehand to help me previsualize what I might see when I arrive at a new location. There are a lot of variables that control how a picture turns out, that’s why I like to see things repeatedly to get the best picture possible.
Anderman’s photography can be found in the collection of the Denver Art Museum as well as many private collections across the country. His work has been exhibited at institutions nationally and internationally, including DongGang International Photo Festival/South Korea, Mt Rokko International Photo Festival/Japan, Denver Public Library, Midwest Center for Photography, The Dairy Center for the Arts, The Arvada Center, American Mountaineering Center, Denver International Airport, The Museum of Outdoor Arts, The Arts Student’s League of Denver, Carmen Wiedenhoeft Gallery, The Colorado State Capitol, Robischon Gallery, Lamont Gallery, Buttonwood Art Space, and in his own gallery in Denver’s Santa Fe Arts District.
In November 2013, Anderman was honored for his unique environmental photography with the inaugural Photo District News (PDN) Duggal Image Maker Award.
Anderman currently serves on the Board of Directors of CENTER Santa Fe. Prior to becoming a full-time photographer, Anderman spent decades working as a geologist, and holds a Master’s and a PhD in Geological Engineering from the Colorado School of Mines and a BS in Geological Engineering from Princeton University.