I hate to read artist statements, as Elvis Costello said, “Talking about music is like dancing about architecture.” If I must describe my work, I would call it a visual metaphor, on a line somewhere between painting and photography.
So I’ll let Michael Weinstein of New City speak for me from one of his reviews:
Through a process of manipulating his color Polaroid shots as they develop, scanning the resulting images into the computer, fine-tuning them with photographic software and then printing them out, Gregory Gaymont transforms the tourist attractions and monumental architecture of Budapest and Vienna into a carnivalesque phantasmagoria of controlled abandon. Taken at angles and from below to emphasize imposing force, Gaymont's subjects assume a reeling and puckish life of their own, subverting their power with playfulness. Most photographers who indulge in Polaroid manipulation produce images that resemble melting ice-cream cakes. Using small sculpting tools, Gaymont retains precise control over his process and provides sufficient delineation of form to make his distortions pack a visual wallop, like one image where a cupola of Vienna's St. Charles Church looms over us like a stony monster with button eyes and a mirthful clownish smile. (Michael Weinstein)