Sweet Surrender

SWEET SURRENDER

Elaine Dennis

From my conversations with Photographer Frank Bruynbroek  

You take such incredible black and white photographs, which truly capture the soul of "man’s best friend.” Was there a pivotal experience that inspired you?

When my dog Rosalie died I promised her that I would use my talent to contribute to the welfare of animals. I developed a concept for a book that would feature portraits of rescued dogs.

Having always done so many things in my life, I came to a crossroad where, for my sanity, I needed to choose one thing to focus on and pursue.

 I wanted to make a difference with my photography, I wanted to inspire. I had no idea that my dog images were so powerful.

I did one exhibit to help a foundation and the response was so overwhelming, that it opened my eyes. I knew that my pictures went further than just dog pictures. I touched a very sensitive cord, almost as if it was a reflection of us, of our society.

Where did you develop and hone your visual and photographic skills or did it come more naturally to you?

I ‘m self-taught. I think that the emotions behind an image are way more powerful than a beautiful technically produced photo.  I just saw an exhibit in NYC of a man (Morislav Tichy)  who dedicated his life to shoot 3 rolls a day with cameras that he built with cardboard boxes and plastic lenses. Everything is out of focus, under or over exposed and yet so powerful. 

I still shoot film; I like the magic of it. There's an element of surprise when you look at your proof sheets. I see three aspects in my photographic approach. When I take a portrait, it's like a romantic affair. When I know that the subject in front of my lens has total trust.

It's a high to know that I create a climate where the truth can’t hide. That's when the image is haunting and mesmerizing.

 I never crop my pictures.  I'm always framing even when I don't have a camera around my neck. Finally, the tremendous joy is to develop perfect timing because unconsciously you know exactly what you want, when you want it. You learn to own it.

What was one of your most memorable photo sessions?

I was at a calendar signing session at Whole Foods when a woman walks in and bursts into tears as soon as she sees the two big pictures on display. She proceeds to tell me that her old dog is about to die any minute. She wanted to go to the vet that same day to put him to sleep, but in the morning the dog looked better. 

For many years, as an art collector, she had been looking for a photographer to capture the dog's essence and never clicked with anyone. She asked me to come and take her dog's photo before it was too late. I promised her that I would show up the next day. I went - her adorable black curly dog was barely moving and it was raining. Since I use natural light it would not be simple.

I lifted the dog to where I thought I could possibly take his picture. As soon as I was all set up, an unexplainable thing happened:  it stopped raining, the clouds parted and the sun shone directly on us. The dog got up, his weak legs were struggling and he sat for me. He gave me all kinds of great expressions, played with me, teased me and after 45 minutes he went back to a lethargic mode and lay down. The sun went away, the clouds closed and it started raining again. A few days later I showed up at her office with the proof sheets. Everybody was in tears; the dog had just died that morning.

Tell us about your recent project with Cesar Millan (the Dog Whisperer).

I have a lot of respect for Cesar. The first time I met him, even though he wasn't as popular as he is today, I knew that he was very special. It takes a teacher to know one. He's a very gifted, idealistic,
down to earth human being. I think that he raised the bar for all of us. He touched people and created a ripple effect in order to give a lot of dogs a second chance.

He makes us feel that any issue can be worked on especially if we are willing to admit that we, the owners, have a lot to do with the dog's behavior. We change, our dog changes. I love the fact that he roots for the breeds with a bad rap.

The calendar was a beautiful collaboration with the Cesar and Ilusion Millan Foundation, especially with Sean Hawkins, the Director of the Foundation. He is such a gentleman and was a pleasure to work with.
The result is a beautiful, classy calendar that I'm very proud of.

All Photos courtesy of Frank Bruynbroek, all rights reserved.

Art the Ignites (reposted from archives)

Art that Ignites

(repost from 2008 blog entry in ViewFinders)

My foray into the mysteriously fascinating world of fire kinetic sculpture performance art.

Like a hummingbird in flight backwards, this art form ignites audiences with a special sense of wonder from deep within.
With moving parts and fire in the night sky they are like harnesses of life’s ever-changing flames, ushering in the light and dark that we must all move through in life.

My first real experience with this art form was as an observer on the city streets in San Francisco circa early1990s. The underground group Survival Research Labs was demonstrating an enormous Tesla Coil and other odd fire and metal creations.
They performed at undisclosed locations throughout the city, and it was then and there that I first caught the bug of fire kinetic arts.

After multiple attendances at the Burning Man Arts Festival in the ‘90s, I became a very active participant: a member of an exclusively small entourage that escorted a 150-foot flame throwing modified v-8 engine vehicle to light the man ablaze. That year, as I recall, I also experienced laying on a very large bed of nails, perhaps 9 inch, delivered in a tiny red wagon - in this get-up.
Happy to report that I survived that experience unscathed.
Photographer: Scott Kildall

Some years later, again on the Playa for Burning Man ‘06, I experienced the Flaming Lotus Girls installation “The Serpent Mother”. This mesmerizing steel mother of fiery artistry was created by a female-driven welding fire-art collective group of over 100 volunteers.

The Serpent Mother
(excerpted from Flaminglotus.com)

There has never been a sculpture like the Serpent Mother.

168' long sculpture of a skeletal serpent, coiled around her egg. Propane fire runs down her spine, with 41 "poofers," or flame-throwers, that erupt from the top of her vertebrae. Reaching 20 feet in the air, her head and jaws are hydraulically operated.

Video (Embed)


A highly kinetic, participant controlled installation. Fire effects are a major interactive, sculptural element of the piece. The audience helps to direct her movements, using controls that move the head and jaws and pushing buttons located on the ribs that set off flame effects, effectively making each show a unique event created by the participants.

The Serpent Mother challenges the traditional art perspective by creating an interactive experience which is the opposite of passive viewing. Unlike an unapproachable painting in a prestigious museum which invites only an intellectual admiration, the Serpent Mother invites viewers to physically engage in her art.

This talented group of artists’ works have been exhibited at events and festivals including Burning Man, Coachella and internationally in Toronto and Australia. FLG have a show April 9th at NASA Ames Research Center in conjunction with Yuri’s Night, April 9-10th.

Today, the Black Rock Arts Foundation supports the public display of large scale installations, such as Ecstasy, in urban settings through various grant programs.


The Black Rock Arts Foundation is proud to support the installation of Dan Das Mann and Karen Cusolito's sculpture Ecstasy at Patricia’s Green in the Hayes Valley neighborhood of San Francisco, Ca. This hopeful, figurative work will be on display, free to the public, from February 7, 2010 till June 18, 2010.

Esctasy is made from salvaged and recycled steel, this six ton, 30 foot tall work retains its’ environmental message. Through much of their work, artists Dan Das Mann and Karen Cusolito resolve to use reclaimed materials, exemplifying resourcefulness as part of the creative process and challenging our cultures consumerist tendencies. Found objects, structural steel scrap, and old machine and car parts comprise Exctasy’s body; the strands of her hair are retired lifting chains.