Even though Patrick V. Walsh uses a camera for his artwork, he doesn’t think of himself as a photographer, nor would he call the resulting pieces "photography." Instead, Walsh approaches his work as a painter might, and paints with the camera itself. The camera is the paintbrush and the photographs are the brushstrokes of his Photomosaics: large- scale rumination on people, places and things that he filters through the camera lens, then pieces together. The end results -- flattened out images that show us what we only perceive in our peripheral vision -- are rendered much deeper and broader than the sum of their original parts.

Walsh, who studied graphic design and advertising at the Parsons School of Design in his native New York City, and who painted as a hobby, created his first piece over thirty years ago when he was location- scouting for a feature film. He discovered a location that could not be captured in a single image. So, he shot many, using a Kodak instant camera, and stapled the photographs together. The result intrigued him and Walsh soon found himself making deliberate forays into the Southwestern desert and along windswept Pacific coastlines to find subjects for his art. Each time Walsh pieces together countless photographs that he has shot to create a single image, he tells a new story. His subjects are as varied as Dennis Connor fronting his sailboat, an empty baseball stadium, the desert or a verdant rain forest. And while the end result may feel spontaneous, the process is anything but, says Walsh. Each location is carefully considered, revisited, and the work is thoroughly thought out before Walsh opens his aperture to gather the images.

For instance, for a piece commissioned by the Los Angeles Dodgers – a photomosaic of the empty stadium - Walsh shot 26 rolls of film for a piece that turned out to be 11 feet long. That commission led to another, by the Baltimore Orioles. The resulting 7 foot long photomosaic of the new Camden Yards was featured at the ball club’s reception for the All Star game. Both works now hang in the stadiums’ private clubs. Once the film is shot, Walsh shapes the experience with the photographs. "I’m creating a composition with multiple photographs and yet within those photographs there will be a beautiful one all by itself. I’ll put it into the mix. The overall impression is what matters to me," says Walsh. "I want you to step into that picture, it’s like a window. I want you to feel you’re there."

In addition to his Photomosaics, Walsh has a distinguished career as a director cameraman and producer in the advertising industry. He has won four “Cannes Film Festival Gold Lions,” two Emmy nominations and over 500 additional industry honors including two films in the New York City MOMA’s Permanent collection. He produced the feature motion picture, "HAIL".

Walsh is a director member of The Director’s Guild of America and The Academy of Television Arts and Sciences, (The Emmys).

Walsh’s work has appeared in museums, galleries and private collections internationally including Rome, Paris and London.

Born:  New York City 1939

Education:  High School of Music & Art, Major: Art, 1956, New York City

Parsons School of Design, Major:  Graphic Design, 1959, New York City