Mark Richardson, submitted artwork
Mark Richardson
Visual Art
New York City
Mark Richardson is a multidisciplinary artist based in New York City, working across photography, filmmaking, painting, and sculpture. Known for his large-scale photographic collages, Richardson constructs layered narratives by capturing dozens—sometimes hundreds—of images from shifting angles and moments and assembling them into dynamic, impressionistic compositions. His work draws inspiration from David Hockney’s 1980s Polaroid collages and the fragmented perspectives of Analytic Cubism. Born and raised in Florida, Richardson began sculpting and filmmaking as a teenager before studying at Southern Methodist University’s sculpture department. A transformative class with art historian Alessandra Comini ignited his passion for the intersection of visual art and storytelling. Before focusing on film, he worked in fashion photography, living in Paris, Milan, and Tokyo before returning to New York, . As the founder of Lumina Films, Richardson has spent over 30 years creating award-winning narrative content, including feature films, documentaries, and commercial projects for IBM, Mastercard, BMW Motorcycles, and Procter & Gamble. His work has aired on CNN, HBO, and BBC4 and has been exhibited at the Museum of Modern Art and international film festivals. Richardson splits his time between New York City and the Hudson Valley, continuing to explore the boundaries of storytelling through photography and film.
Works
Mark Richardson, submitted artwork
I approach photography not to capture a single, defining moment, but to construct layered narratives—stories built from dozens, sometimes hundreds, of images taken from shifting angles and moments in time. My photographic collages explore time, movement, and perspective, collapsing them into a single, multifaceted composition. Inspired by David Hockney’s 1980s Polaroid collages and the fragmented perspectives of Analytic Cubism, I embrace imperfection—allowing fragments to align, diverge, and overlap to create compositions that are both cohesive and fractured, impressionistic and dynamic. My collages can be experienced both as a singular composition, where form, color, and narrative structure tell one story from a distance—akin to a Cubist or Impressionist painting—but also as a layered exploration. As the viewer moves closer, the work reveals its intricacies—fractured details, shifts in time, and imperfect variations in perspective. What first appears as a unified image unfolds into a complex interplay of moments, each inviting deeper engagement. Rooted in my background as a filmmaker—where 24 still images per second create the illusion of movement—my process reverses that logic. Instead of sequencing frames over time, I collapse them into a single plane, allowing viewers to experience time, motion, and perspective simultaneously, rather than sequentially begging the question: Can a single photograph hold not just one moment, but many?
