The art I make explores hidden abstract patterns, random shapes, and aesthetic tensions I see in manufactured objects—particularly within the confines of structures and machinery.

When I was a kid growing up in Brooklyn, my neighborhood was near the el, and I was especially drawn to the mystery and magic of the subway trains, streets, and architecture. Early on, I was drawn to the NYC ash can school artists and photographers of the first part of the 20th century, particularly those who captured the working class and gritty side of life such as George Bellows, Edward Hopper, Reginald Marsh, and Thomas Hart Benton; and also precisionist school artists like Charles Sheeler, Ralston Crawford, Paul Strand, Margaret Bourke-White, and many others. Although my style is a bit more modern, I think their influence is increasingly evident in what I’m doing today.

I use my camera as my sketchbook, always looking for subject matter that intrigues me and makes a memorable impression. Then, when transforming my reference into a piece of physical art, I make it my purpose to go beyond just a technical rendering, but also infuse it with emotion; and I’m not happy unless the art also becomes an emotional experience - for both me and the viewer.

It's the feeling that makes it art. 

A short conversation with Harvey Hirsch.