Where Image Meets Line: An Interview with Bob Dosdourian
- Jhazzy Jhane
- 6 days ago
- 3 min read
There’s a quiet intimacy in the way some artists observe the world—an attentiveness that feels less like looking and more like witnessing. For poet and photographer, Bob, that instinct to witness became even more pronounced during the stillness of the COVID-19 pandemic, when the camera gave way, at least temporarily, to the pen. What began as a shift in medium evolved into something more fluid: a creative practice where image and language speak to one another.
In this conversation, he reflects on how poetry and photography intertwine, the role of observation in his work, and the ways everyday moments, such as drinking coffee, transform into lasting artistic records.
Q: How do your practices as a poet and photographer inform one another? Do you see them as separate disciplines or part of the same creative language?
A: My practice as a photographer morphed into that of a poet during the COVID shutdown. In my desire to create, I turned to writing as a more accessible means of tapping into inspirations that could not easily be conveyed only through pictorial imagery. Eventually, they came together to create an ekphrastic piece.
Q: How do you decide when to capture a moment in a poem? Do you just capture what you see or do specific things take place that influence you to write about them?
A: I generally decide to capture moments in poetry that I have lived through. A fond memory is often brought to life in prose to convey my experience.
Q: What does your creative process look like from initial inspiration to finished work?
A: I write most of my poems on my phone while enjoying a cup of coffee. I think about events that interest me, memories brought to life, and observations out my windows or made while traveling. Then, the work is edited as I copy it into my notebook. It is then read at public outings and submitted for use in online media.
Q: Much of your work feels rooted in observation. What draws your eye, and how do you translate that attention into meaning?
A: Observation is key. Transcribing the images into words takes practice. I allow calm to take over and put into words what I saw, what stirred me. I rarely take poetic license to alter the reality of what transpired, though occasionally I make an exception.
Q: How do you approach editing (if at all) in revising poems?
A: Editing is done while transcribing the poems into my notebook. Even then, whiteout still comes in handy for correcting errors!
Q: Do you think of your work as a form of documentation or archive? If so, what are you trying to preserve?
A: I would like to think of my work as some kind of archive that will endure when I am gone. I would like to preserve something of who I was, what I experienced and endured when I am no longer here to record my lifelong experiences.
Q: How has your artistic voice evolved over time across both mediums?
A: My artistic voice is rooted in the education I received and through participation in social gatherings. Online presentations allow me to blend imagery and words in a way that is creative and fun, while also reaching a larger audience.
Q: Why are art and its history important?
A: Art has its roots recorded in the iconography of religious and historic events over the span of many centuries. The evolution of materials and the understanding of applications have made art more accessible and expansive over time. Where once it took many years and physical labor to create, art is now instant. The message art conveys has been lost in the modern world. Instead of generating emotion, people today use art to convey social ideals and political motivations. I believe the reason why prominent paintings of classical artists are in such demand is because they focus on art for creativity and expression of thoughts that are more universal rather than to convey an agenda.
Through both lens and line, Bob reminds us that to pay attention and truly see is its own kind of artistry, and perhaps its own kind of legacy.
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