My work is based on the minimal, to show the base of any subject. Most people innately see the overall; few ever notice the parts and pieces of that whole. My impetus is to reveal that inner being of a subject to the everyperson eye.

The process is more intricate than simply depicting a small bit of something, the idea for me is to show the passersby that which they miss every day. To allow them the enjoyment of seeing that which they never take notice of and seldom see the beauty in it.

I return to the gargoyle downspout at Chambord as an example. Upon showing my image to the other members of the excursion and seeing their reaction, that was the pay-off. Their surprise and awe at something so common that they had never noticed it before. Their smiles said it all for me. Though I did not know at the time, I had to photograph in this manner.

Additionally, I present my work in the square format. This requires the viewer’s attention to see only the portion they often miss when looking at a subject. The square eliminates the extraneous information unneeded for the enjoyment of the segment shown.

It is through this process I remain motivated to seek out the structures, public art and expanses to explore. I don’t simply document the character of a piece; I strive to investigate the portions that are overlooked. This is all for the result of bringing a smile to a face, a remembrance to a thought, for a pleasure for the observer.

Duplessie, a native of Maine and 20-year resident of New York City, considers himself to have always been a photographer. He knew at a very young age being a photographer was his destiny. The exact tract was the unknown. Having played with a Fisher Price wooden camera and graduating to his parent’s Kodak 126, capturing the image was the end game, even in his imagination.

Through formative years in a high school darkroom he learned the basic function of developing images, though it came quite easily for him. A simple innate knowledge was with him. Studying lighting and studio disciplines in New York City brought him back to a memory from his youth, that of photographing a gargoyle downspout on the roof of the French chateau Chambord and showing the image to others on the trip only to their amazement. Though they had all visited this site before they had never noticed the downspout. This intrigued him and is now what gives to the formation of the concept of showing that which is seldom seen. We see that in many of his works, the parts and pieces of the whole. It’s what sets Duplessie apart.