Vincent Serbin has been working at his own brand of photography for over 30 years. Serbin uses drawing, set construction, multiple-image printing and “negative collages” to create his dense works, which cover a multitude of subjects.
In constructing his collages, Vincent Serbin combines upwards of three or four negatives, cutting or tearing out selected image areas from each negative and taping them together to create a single master negative. Serbin also incorporates words, graffiti-like doodles and outlines etched into the emulsion or marked on the surface of the negative.
Although Vincent Serbin describes his darkroom procedures as fairly straightforward and conventional, he has developed some highly refined toning techniques that combine selective applications of selenium, sepia toner, and bleach to create what he describes as a “speckled effect.”
About five years ago, Serbin noticed piles of expired photo paper collecting in his studio. It occured to him that it might be well-suited for painting. He experimented and in fact discovered that several layers of gesso resulted in supremely durable and archival paper on which to paint. Serbin’s painter hat was duly added to the photographer one and his voice has been expanding and evolving ever since. Echos of De Koonig and Diebenkorn resound in his oils on paper, which have become looser and more lyrical with time.
Vincent Serbin, who was awarded a New York Foundation for the Arts fellowship grant in 2000, boasts an impressive resume of exhibitions spanning more than a quarter of a century. His work has also been featured in such publications at the Journal of Contemporary Photography, 2002, Zoom International, PhotoMetro SF, The Photographer’s Forum, The Photo Review and Black and White Magazine.