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Fine art photographer William Morse, areformed architect, has long been interested in abstraction and asymmetry inartistic expression. Oftenphotographing in the moraines and seashores of Southern New England, he looksfor the elusive yet omnipresent small chance occurrences that contain the patternsand abstractions we have evolved to notice and appreciate.

Morse has recently exhibited his work in agroup show at the Griffin Museum of Photography.  Fort he past fifteen years, he has alsoparticipated in monthly Open Studios in the SOWA Arts District of Boston, wherehe has his studio. There, in addition to his own work, he shows his restored imagesfrom the archive of William Leete, his grandfather, who photographed China inthe early years of the 20th century. and

William Morse studied architecture at theBoston Architectural Center (BAC), and has studied photography at the BAC, theArt Institute of Boston, and Atelier 31 at the Griffin Museum of Photography. Inhis studio he also provides Photoshop training, drum scanning, printing andother photographic services to photographers and artists from throughout theNortheast. He enjoys this opportunity to teach and to learn from manyaccomplished photographers and artists.

Statement of Purpose:

I am an atheist, and the descendent of Christian missionaries and ministers. I am also a photographer. I don’t “evangelize” for atheism, but a part of me wants to. 

Everything I see in the natural world reinforces for me Darwin’s truth of Evolution and Natural Selection. At the same time I recognize the difficulties: Where did the eye come from? It’s ridiculous, impossible, there must have been an un-seen hand. Even Darwin at one time said that the eye “disproved” evolution. Yet we now know the eye took only 500,000 years to fully develop. Humanoids have been around longer than that!

I have been looking for the same sorts of photographs for several decades; most of that time I was unaware of what I was looking for. Then several years ago, coming back from another hike through the woods where several of these photos were later taken, the sun had fallen and I had my thoughts to myself. A shock of realization: I was looking for evidence of chance, the struggle to survive, and ultimately evolution. It’s impossible to understand evolution with out seeing it as an essentially infinite series of small chance occurrences.

But I’m looking for something more as well. We have evolved to recognize and appreciate the patterns of the natural world, and to rearrange them in abstract re-constructions. I find these patterns and abstractions beautiful, irresistible and thrilling.

Ready to make it official?


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