Eric Kanigan
Graduating Class 2012
Eric was born in Evanston, Illinois in 1994 prior to spending most of his childhood growing up in Connecticut. He took up photography in a high school course where he learned the end-to-end film process and the value of each individual shot. After Eric graduated Wake Forest University with a degree in Biology, his job allowed him to travel across the country. As his interest in visiting unique settings grew, so did his desire to capture them. Eric’s appreciation for wildlife and the natural world inspires his trips today. What began as a casual interest in documenting his travels soon evolved into a drive to share meaningful stories through his work.
Instagram: @eric.kanigan
Website: https://erickanigan.photography
Instagram: @eric.kanigan
Website: https://erickanigan.photography
Artwork for the 2022 Darien Alumni Art Show, June 10th - 13th
“Helios”
Edition of 7
$7,500
Framed Photograph
40’’ x 60’’ Yellowstone National Park, Wyoming 2021
For all there is to see and experience in America’s first National Park, the Grand Prismatic Spring is, undoubtedly, Yellowstone’s most
visually striking attraction. Beneath the thousands of square miles of mountains, pine trees, lakes, and rivers lies a volcanic system that has given rise to more than 10,000 thermal features across the park. Grand Prismatic Spring is located within the Midway Geyser Basin, about halfway between the West Entrance and West Thumb. With a diameter longer than a football field, the spring is the largest in the United States, and third largest in the world.
The word “prismatic” comes from the Greek stem “prisma” meaning “of lights, colors” and “separated or distributed as if by a prism.” Grand Prismatic’s color separation results from a temperature gradient that gives life to different types of thermophiles. Orange, brown, and green microorganisms are found in the cooler waters around the outside of the spring, while the colorless and yellow thermophiles grow in higher temperatures. At nearly 190°F, the temperature in the center of the spring is too hot for most of these heat-lovers, leaving the incredibly clear water to reflect the deep cobalt blue that we observe.
While the park has boardwalks alongside the spring and a hike up an adjacent hill for a higher vantage point, it is still difficult to grasp
the full impact of Grand Prismatic from the ground. Last August, I decided I wanted to go much higher to capture the cauldron of
color in all of its glory.
Photographing landscapes comes with its own challenges and a good deal of luck, but photography 2,000 feet above a landscape
presents a whole new slate of factors to consider. There is really no way to replicate or prepare for reaching out of a helicopter at 120
mph, trying to shoot straight down with the wind blasting your arms straight back at your body. Shutter speed, which is normally an
afterthought for landscapes, becomes paramount. With temperatures significantly colder at altitude, gloves prevent the typical,
second-nature handling of the cameras. Despite all the complications, there is no rush quite like soaring over one of the most unique
settings in the country with an unobstructed view.
When we reached Grand Prismatic, the pilot tilted the nimble R-44 so I was leaning directly above the spring. We circled a number of
times as I swapped between cameras to provide me with options for both tighter, more detailed shots, and wider images to reveal the
overall scene. I wanted to be sure to capture people in the photograph both to provide a sense of scale and also to give a hint of
realism to what is certainly an abstract scene. “Helios” emerged as my favorite image from that day, and I knew that such a colossal,
vibrant subject would need to be presented in a way to convey those characteristics.
“Helios” is printed and mounted on anodized aluminum and floated within a white maple frame. The image sits behind a sheet of
Museum Acrylic to dramatically reduce glare while filtering nearly all UV light that can cause image fading. The framed piece
measures 40’’ x 60’’.
Edition of 7.
visually striking attraction. Beneath the thousands of square miles of mountains, pine trees, lakes, and rivers lies a volcanic system that has given rise to more than 10,000 thermal features across the park. Grand Prismatic Spring is located within the Midway Geyser Basin, about halfway between the West Entrance and West Thumb. With a diameter longer than a football field, the spring is the largest in the United States, and third largest in the world.
The word “prismatic” comes from the Greek stem “prisma” meaning “of lights, colors” and “separated or distributed as if by a prism.” Grand Prismatic’s color separation results from a temperature gradient that gives life to different types of thermophiles. Orange, brown, and green microorganisms are found in the cooler waters around the outside of the spring, while the colorless and yellow thermophiles grow in higher temperatures. At nearly 190°F, the temperature in the center of the spring is too hot for most of these heat-lovers, leaving the incredibly clear water to reflect the deep cobalt blue that we observe.
While the park has boardwalks alongside the spring and a hike up an adjacent hill for a higher vantage point, it is still difficult to grasp
the full impact of Grand Prismatic from the ground. Last August, I decided I wanted to go much higher to capture the cauldron of
color in all of its glory.
Photographing landscapes comes with its own challenges and a good deal of luck, but photography 2,000 feet above a landscape
presents a whole new slate of factors to consider. There is really no way to replicate or prepare for reaching out of a helicopter at 120
mph, trying to shoot straight down with the wind blasting your arms straight back at your body. Shutter speed, which is normally an
afterthought for landscapes, becomes paramount. With temperatures significantly colder at altitude, gloves prevent the typical,
second-nature handling of the cameras. Despite all the complications, there is no rush quite like soaring over one of the most unique
settings in the country with an unobstructed view.
When we reached Grand Prismatic, the pilot tilted the nimble R-44 so I was leaning directly above the spring. We circled a number of
times as I swapped between cameras to provide me with options for both tighter, more detailed shots, and wider images to reveal the
overall scene. I wanted to be sure to capture people in the photograph both to provide a sense of scale and also to give a hint of
realism to what is certainly an abstract scene. “Helios” emerged as my favorite image from that day, and I knew that such a colossal,
vibrant subject would need to be presented in a way to convey those characteristics.
“Helios” is printed and mounted on anodized aluminum and floated within a white maple frame. The image sits behind a sheet of
Museum Acrylic to dramatically reduce glare while filtering nearly all UV light that can cause image fading. The framed piece
measures 40’’ x 60’’.
Edition of 7.
“Resilience”
Edition of 20
$2,000
Framed Photograph
24’’ x 36’’
White Sands National Park, New Mexico
2020
Life isn’t easy in the desert.
Flora that call the dunes of White Sands National Park home are forced to adapt through both form and function to survive. In an ever-changing landscape, plants contend with water scarcity, drastic changes in temperatures, and the ground below them constantly shifting.
The soaptree yucca is the only species within White Sands that utilizes a strategy that would seem obvious for a plant, but is even more critical for life on dunes – growing tall. The lean stem extends to give the plant a height of up to 30 feet, allowing the clusters of leaves and flowers to sit above the sand. When the dunescape makes way with the wind, the stem will collapse to give new life, as smaller shoots take hold to begin their growth.
Across this gem of a park, the odd patches of plants add to an already fanciful setting. On an early afternoon hike, I was met with just the right conditions to showcase one of these miraculous figures, standing tall over the sea of gypsum crystals.
“Resilience” is a giclée print, using archival paper and pigment inks to provide greater contrast, detail, and range of colors. The image is presented in an exhibition shadowbox style with a white frame. The print sits behind a sheet of Museum Acrylic to dramatically
reduce glare while filtering nearly all UV light that can cause image fading. The framed piece measures 24’’ x 36’’.
Edition of 20.
Flora that call the dunes of White Sands National Park home are forced to adapt through both form and function to survive. In an ever-changing landscape, plants contend with water scarcity, drastic changes in temperatures, and the ground below them constantly shifting.
The soaptree yucca is the only species within White Sands that utilizes a strategy that would seem obvious for a plant, but is even more critical for life on dunes – growing tall. The lean stem extends to give the plant a height of up to 30 feet, allowing the clusters of leaves and flowers to sit above the sand. When the dunescape makes way with the wind, the stem will collapse to give new life, as smaller shoots take hold to begin their growth.
Across this gem of a park, the odd patches of plants add to an already fanciful setting. On an early afternoon hike, I was met with just the right conditions to showcase one of these miraculous figures, standing tall over the sea of gypsum crystals.
“Resilience” is a giclée print, using archival paper and pigment inks to provide greater contrast, detail, and range of colors. The image is presented in an exhibition shadowbox style with a white frame. The print sits behind a sheet of Museum Acrylic to dramatically
reduce glare while filtering nearly all UV light that can cause image fading. The framed piece measures 24’’ x 36’’.
Edition of 20.
“Gypsum Dreams”
Edition of 20
$2,000
Framed Photograph
24’’ x 36’’
White Sands National Park, New Mexico
2020
Somewhere between Alamogordo and Las Cruces, New Mexico, adjacent to the San Andres Mountains lay almost 300 square miles of gypsum crystals — the largest dunefield of its type in the world.
You can get a feel for the landscape in White Sands National Park with a relatively short visit, and while many find the hills adjacent to the road sufficient for sledding and photos, I sought a more immersive experience during my visit. Over the course of four days, I opted for a trek from the park’s roads, hiking about four to five miles in as straight of a line as I could to ensure I’d be able to find my way back.
As the people on top of the dunes disappear from view, the experience becomes that much more unique. Seemingly alone in a world of endless sand, it becomes increasingly difficult to believe you’re in a real location, but it also becomes hard to decide what’s worthy of an image. You trudge towards one peak hoping that the view of the nearby dunes aligns with what you have in mind, but you are entirely at the mercy of the shapes, the wind, the sunlight, and the clouds. There are almost too many options, yet nine times out of ten, it’s not quite what you’re looking for.
The hike continued, as my shoes filled to the brim with the brilliant white crystals. I continued farther out until something just right caught my eye. The shadows and highlights, the meandering lines forming the peaks, and the small textured details all seemed to provide balance and form to a scene that would never look the same way again.
“Gypsum Dreams” is a giclée print, using archival paper and pigment inks to provide greater contrast, detail, and range of colors. The image is presented in an exhibition shadowbox style with a white frame. The print sits behind a sheet of Museum Acrylic to dramatically reduce glare while filtering nearly all UV light that can cause image fading. The framed piece measures 24’’ x 36’’.
Edition of 20.
You can get a feel for the landscape in White Sands National Park with a relatively short visit, and while many find the hills adjacent to the road sufficient for sledding and photos, I sought a more immersive experience during my visit. Over the course of four days, I opted for a trek from the park’s roads, hiking about four to five miles in as straight of a line as I could to ensure I’d be able to find my way back.
As the people on top of the dunes disappear from view, the experience becomes that much more unique. Seemingly alone in a world of endless sand, it becomes increasingly difficult to believe you’re in a real location, but it also becomes hard to decide what’s worthy of an image. You trudge towards one peak hoping that the view of the nearby dunes aligns with what you have in mind, but you are entirely at the mercy of the shapes, the wind, the sunlight, and the clouds. There are almost too many options, yet nine times out of ten, it’s not quite what you’re looking for.
The hike continued, as my shoes filled to the brim with the brilliant white crystals. I continued farther out until something just right caught my eye. The shadows and highlights, the meandering lines forming the peaks, and the small textured details all seemed to provide balance and form to a scene that would never look the same way again.
“Gypsum Dreams” is a giclée print, using archival paper and pigment inks to provide greater contrast, detail, and range of colors. The image is presented in an exhibition shadowbox style with a white frame. The print sits behind a sheet of Museum Acrylic to dramatically reduce glare while filtering nearly all UV light that can cause image fading. The framed piece measures 24’’ x 36’’.
Edition of 20.
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An interest originating from a film photography course at Darien High School quickly evolved to a transition to digital. The commonality — an interest in seeing the unique around me, and a passion for capturing and sharing it with others. I started my journey in photography learning the fundamentals, but the process of developing and honing the skills continues each time I take out my camera. Both an intimidating yet rewarding craft, the art has taken me to each corner of the globe. What initiated as a byproduct and side event of my early travels soon became the inspiration and the purpose for my travels. I wanted to step out of my comfort zone and experience what was so different from my time growing up in Connecticut. Early on, I looked to visit major tourist destinations to see first hand what I found in travel guides and online. However, I realized that I sought to convey a distinct feeling through my work that falls separate from a reaction to a landmark that has been seen before. I looked to share the same mood and emotion that came with visiting a stunning location for the first time. The feeling of organized chaos in the streets of Tokyo, a misty morning in Yellowstone or the quiet winter walk of its giant herbivores, Cape Town’s waddling residents, Death Valley’s meandering mountains, the peace and solitude among the otherworldly gypsum dunes in New Mexico, or the striking figure of a bighorn sheep overlooking the Badlands. I plan my trips diligently, often with a single shot in mind inspiring an entire journey. Early mornings and late nights chasing soft light are common, but a lack of sleep is overshadowed by the joy that comes with telling a story with a single frame.
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There is no charge to attend the show. All costs are covered by donations; if you like, you can donate here through our Go Fund Me page. |
Works from the 2021 Darien Alumni Art Show
Zabriskie,
Photograph mounted on acrylic glass
24x36 (in)
2021
$1,300
Walk the Line,
Framed Photography
22x42 (in)
2020
$1,100
SOLD
Follow the Locals,
Framed Photograph, Black & White
41x33 (in)
Boulders Beach, Cape Town, South Africa
2019
$950
Life in Technicolor,
Framed Photography
32x26 (in)
2019
$900