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“Poppi is my fun and clever alter ego. It’s a line of jewelry that doesn’t take life too seriously. The glass and sterling rings are my invention and are unique in that they stretch to fit most everyone. Poppi adds a splash of color to jeans or an extra spark to ignite a little black dress; heck, it’ll even brighten up a trip to the grocery store.

If nothing else, it’s a statement. Poppi laughs. Poppi flirts. Poppi screams. Poppi says it all without you saying a thing.”

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"For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. In order to give a “meaning” to the world, one has to feel involved in what one frames through the viewfinder. This attitude requires concentration, discipline of mind, sensitivity, and a sense of geometry. It is by economy of means that one arrives at simplicity of expression.

To take a photograph is to hold one’s breath when all faculties converge in a face of fleeing reality. It is at that moment that mastering an image becomes a great physical and intellectual joy.

To take a photograph means to recognize, simultaneously and within a fraction of a second‚ both the fact itself and the rigorous organization of visually perceived forms that give it meaning.

It is putting one‚ head, one‚ eye, and one‚ heart on the same axis. "

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The Day-to-Day Life of Albert Hastings by KAYLYNN DEVENEY 

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The Day-to-Day Life of Albert Hastings by KAYLYNN DEVENEY 

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"Early in this project Bert shared some intriguing thoughts and comments with me concerning my photographs of him. These comments led me to think more about the ways our ideas regarding photography differed. I wondered too how my perceptions of Bert differed from the way he saw himself. To better understand his feelings about being photographed and his reactions to my photographs, I asked Bert to caption small prints I kept in a pocket-sized notebook. Each speaking from our own perspective, we began the dialog that eventually became this book. Bert’s captions create a new context for my photographs, while some correspond to the thinking that shaped the image, others interpret the image in a different way, thereby adding a critical second perspective to this work.

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“I want to express my feelings rather than illustrate them. It doesn’t matter how the paint is put on, as long as something is said. On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting. When I’m painting, I’m not aware of what I’m doing. It’s only after a get acquainted period that I see what I’ve been about. I’ve no fears about making changes for the painting has a life of its own.”

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“I don’t paint things; I paint only the differences between things… I do not literally paint that table, but the emotion it produces upon me. What I dream of is an art of balance, of purity and serenity devoid of troubling or depressing subject matter – a soothing, calming influence on the mind, rather like a good armchair which provides relaxation from physical fatigue.”

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“When you take a flower in your hand and really look at it, it’s your world for the moment. I want to give that world to someone else… Nobody really sees a flower – really – it is so small – we haven’t time – and to see takes time… So I said to myself – I’ll paint what I see – what the flower is to me but I’ll paint it big and they will be surprised into taking time to look at it.”

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“I let myself go. I thought little of the houses and trees, but applied colour stripes and spots to the canvas… Within me sounded the memory of early evening in Moscow – before my eyes was the strong, colour-saturated scale of the Munich light and atmosphere, which thundered deeply in the shadows.”