INTERVIEW
March 2, 2025
FLUX
Exploring Form, Luminescence, and Motion
Photography by Amy Newton-McConnel
Interview by Melanie Meggs
Amy Newton-McConnel’s photography reinterprets light and movement, constructing a visual dialogue that shifts between the tangible and the abstract. Through the technique of Intentional Camera Movement (ICM), Amy disrupts conventional perspectives, using the camera as a tool for spontaneity and experimentation. Rather than capturing static moments, her work embraces fluidity, where motion dictates form, and light serves as both subject and medium. By dissolving recognizable structures, she invites the viewer to engage with images that exist beyond the constraints of literal interpretation, prompting a reconsideration of how movement shapes perception.
Amy’s work has been exhibited in galleries throughout Arizona and is part of the permanent collection at Rosie’s House: A Music Academy for Children in Phoenix. Her photography has been featured previously here on The Pictorial List, and in numerous digital and print publications, including Hintology, ICM Photography Magazine, Spectaculum Magazine, Spotlight Contemporary Art Magazine, and Women United Art Magazine. These platforms have recognized her ability to push the boundaries of photographic storytelling through abstraction.
Her series, ‘Flux: Exploring Form, Luminescence, and Motion’, examines the interplay of structured precision and organic unpredictability. Through controlled camera movements, she captures ephemeral moments, composing images that evoke rhythm and energy. Amy’s approach to ICM is grounded in a study of lines, textures, and colors, reshaping visual perception by merging movement and stillness into a unified composition. The blurred contours and layered tonalities in these images suggest an evolving transformation, capturing the fluid nature of time and space.
By integrating ICM techniques with a focused conceptual framework, Amy constructs compositions that extend beyond the frame. Her work does not seek to depict reality but rather to reinterpret it, offering an alternative lens through which to engage with the transient nature of experience. In this interview, she discusses her artistic process, the conceptual underpinnings of ‘Flux: Exploring Form, Luminescence, and Motion’, and the role of abstraction in contemporary photography.
“‘Flux’ began as an exploration of movement and transformation, without a rigid narrative in mind. I was drawn to the way shifting forms and layered textures could evoke different emotions and interpretations. As the project evolved, I found that themes of energy, fluidity, and impermanence naturally emerged, shaping the direction of the work. It was a balance between intentionality and discovery — allowing the process to guide me while remaining attuned to the emotional resonance of each piece.”
IN CONVERSATION WITH AMY NEWTON-MCCONNELL
THE PICTORIAL LIST: How do you define the boundary between control and unpredictability in Flux? Do you see motion as a tool to shape the image, or does it become a subject in itself?
AMY: The boundary between control and unpredictability is fluid—I guide the motion, but I also embrace the unexpected. Motion is both a tool and a subject; I use it to sculpt the image, yet it also takes on a life of its own, shaping the final composition in ways I can’t fully anticipate. The interplay between these elements is what makes the work dynamic—it's about finding harmony in chaos and allowing the movement to speak for itself.
TPL: In this series, how do you determine the degree of abstraction? Were there moments where the original subject remained visible, or was total transformation your goal?
AMY: Total transformation was my goal in this series. I wanted to push the original subject beyond recognition, allowing form, color, and movement to take precedence over representation. The process was about dissolving the familiar and creating something entirely new — an image that exists in its own space, independent of its source. By embracing abstraction to this degree, I aimed to evoke emotion and interpretation without the constraints of a recognizable subject.
TPL: ‘Flux’ suggests a dialogue between order and chaos — do you find yourself drawn more to one aspect over the other when composing your images?
AMY: I find myself drawn to discovering order within the chaos. While the process of creating ‘Flux’ embraces unpredictability, my instinct is to seek structure within that movement — whether through composition, balance, or the interplay of light and form. The tension between these elements is what makes the work compelling to me. Chaos provides energy and spontaneity, but finding moments of harmony within it is what ultimately shapes the final image.
TPL: Light is a crucial element in ‘Flux’. How do you manipulate light sources to achieve the sense of depth and radiance in your images?
AMY: I don’t manipulate the light source itself; instead, I manipulate the direction of light through my camera using intentional camera movement. By shifting the camera during exposure, I reshape how light interacts with the scene, creating a sense of depth and radiance. This technique allows me to stretch, blur, and layer light in ways that transform the original subject, emphasizing motion and energy rather than fixed form.
TPL: Are there particular types of light—natural, artificial, or mixed—that lend themselves best to the visual language of ‘Flux’?
AMY: For ‘Flux’, I worked exclusively with artificial light in an outdoor environment during the evening, where natural light was minimal. Artificial light lends itself well to the visual language of the series because of its intensity, directionality, and the way it interacts with movement. The contrast between light and darkness enhances the sense of depth and fluidity, allowing me to sculpt the image through intentional camera movement. This controlled yet dynamic interplay of light helps create the transformation I seek in the work.
I aim to evoke emotion and interpretation without the constraints of a recognizable subject.
TPL: When working on ‘Flux’, did you have a consistent technical approach, or was each image a result of experimentation and discovery?
AMY: Every image in ‘Flux’ was the result of experimentation and discovery. Each movement of the camera introduced new possibilities, and I embraced the unpredictability of the results. This approach kept the work dynamic, allowing me to respond to the light, motion, and composition in the moment rather than adhering to a predetermined outcome.
TPL: Were there any unexpected technical challenges in translating your vision into final images? How did you overcome them?
AMY: There were no technical challenges in translating my vision into the final images—only the unpredictability of the outcome. Since ‘Flux’ was built on experimentation, I embraced the lack of control as part of the process. Rather than seeing unpredictability as an obstacle, I allowed it to guide the work, shaping each image in ways I couldn’t fully anticipate.
TPL: Abstraction allows for multiple interpretations. Do you prefer viewers to approach your work with an open perspective, or are there specific narratives you hope they uncover?
TPL: Your work has a painterly quality, reminiscent of Abstract Expressionism. Are there particular painters, photographers, or artistic movements that inspire your approach?
AMY: I am inspired by all forms of abstract art, particularly Cubism, Expressionism, and Abstract Expressionism. These movements' focus on breaking down form and conveying emotion through abstract means resonates deeply with my own approach. I draw from their exploration of perspective, color, and emotional depth, which I incorporate into my photographic process. The raw energy and freedom found in these artistic styles influence how I capture movement and transformation.
TPL: How do you prepare for a shoot? Do you pre-visualize a composition, or do you let intuition guide your movements?
AMY: I don’t begin with a fixed composition in mind. Instead, I experiment with different camera movements and let my intuition guide me through the process. Each shoot is a fluid exploration, where I respond to the light, motion, and energy in the moment. This approach allows for spontaneity and discovery, ensuring that each image evolves organically rather than being constrained by a predetermined vision.
‘Flux’ is not just about capturing reality but about transforming it, using intentional camera movement to dissolve familiar forms and create images that exist independently of their source. Rather than seeking complete control, Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. For her, photography is a deeply intuitive process — one that lets her lose herself in the rhythm of movement, embrace uncertainty, and discover unexpected moments.
