Stan K. Yeatts writes under the monogram S. K. Yeatts and holds a BA in English Literature from Baylor University in Texas. He formerly served as the Executive Director for a Fortune 50 Company leading UX design teams and software development. He now works full time on art and literary projects and lives with his wife Janette in the Sangre de Cristo mountains above Santa Fe, New Mexico, USA.

Yeatts is both a poet and a visual artist. His initial collection of poetry, “HOLOGLYPHS—Twilight Fields,” was published by Kelsay Books in 2016 and won the Independent Press Award, the Pinnacle Book Achievement Award, the Big New York Book Award “Distinguished Favorite” selection and was the winner of the 2019 'Next Generation Indie Book Award' for Poetry. His second volume “HOLOGLYPHS II – Afterlight” was recently published by Adelaide Books (New York / Lisbon) and is available in Portuguese and English editions as well as having recently won the 2023 'Next Generation Indie Book Award' for Poetry.

Akin to his poetry, Yeatts’ visual art focuses on extracting the archetypal nature of an image by working in a unique blend of photography and graphics he refers to as “post-photographic impressionism.” His work spans the polarities of designing album covers for US & European musicians to creating large-format panoramas for residential and commercial installations. Yeatts has exhibited his pieces in international juried photographic shows in North America and Western Europe, including an invitation to show at the recent 4th Biennial of Fine Art & Documentary Photography Exposé in Berlin, Germany.

ARTISTIC DIRECTION
I work in a unique blend of photography and graphics that I refer to as "Post-Photographic Impressionism". While I value the detail photography can generate, even the finest compositions can come-off too much like documentary snapshots that somehow feel static or dated. Impressionist paintings, on the other hand, have an internal rhythm and movement of light that feels more eternal and better approximates how the experiential moment felt to the observer. Yet even these stylistic works can lack deeper layers of detail—offering a vision that can collapse if viewed at close-range. My concept fuses both the energy of the moment's impression with an intricacy of detail that can be visually sustained even at massive-scale prints (e.g., or viewed up-close in galleries, hotel lobbies or residential settings).

My visual works span designing Album-covers for US & European musicians to creating large-format “Post-Photographic Impressionistic” panoramas for residential, commercial, and public installations. I have exhibited in international juried photographic shows throughout North America and Western Europe, including an invitation to present my work at the recent 4th Biennial of Fine Art & Documentary Photography Expose’ in Berlin Germany.

PROCESS
I take multiple photographs of a subject/scene with a medium format EOS camera and stitch these individual shots together into a unified mosaic—rendering a digital negative that is minimally 450 megapixels in size. I then hand-manipulate various structural edges and color-ranges within the image using custom software to stylize and bring-out the internal flow of the scene, creating a more direct impression of the moment.

The other direction I am taking with my Post-Photographic Impressionistic works (besides printing all my pieces exclusively in large format editions) is to create each image as a one-of-a-kind production. I do not offer limited editions—as each piece, much like an original painting or sculpture is unique, and limited to a single print.