Monday, 6 April 2009

available realities

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available realities - 
even when the person photographed is still living, that moment when he or she was has forever vanished. Strictly speaking the person who has been photographed - not the total person, who is an effect of time - is dead: dead for having been seen - Pierre MacOrlan -what then is his|her relationship to the it that surrounds - which is also dead for having been seen in that moment
- question this - death in context to a captured moment has too much finality - an unseen photograph is sleeping, and time suspended wakes on viewing - this is not death, it is viewed within the context of its own time - every moment photographed has the potential for immortality | mirrors - water - objects are all means of containing the subject within an indirect vehicle as a suggestive presence -a hand placed beside an object within its historical and environmental context - where the object has lived - is a dialogue between the person whose hand it is and the spatial stage it shares with the object - that this frozen capture by light suspends dialogue in an eternal loop - this is not death - this is life - is this a true understanding?
what is a true understanding? even when ones own work emerges as a slow comprehension into an intellectual space - mirrors - windows - camera frame - a great lie? or an alternate truth ? the social photograph - mundane adherence to a realist moment can be used as a vehicle to enhance the subtle surrealism of existence - the contrived photograph - staged movement within a conceptual context resolves drama of light and movement before and after the frame - critical disturbance of space and time - offering the possibility of space narrative within a frame connected by the gaps of sequentiality - simply being alive - ie animate in time takes one out of the fixing of time - ie death - that a photographic representation suggests - the invisible 'frame after' also does that - i propose - potential of the photograph like the dream - to suspend time and transform space - sequential narratives - cinematic - figure holding a mirror infront of their body - different figure reflected - a duplicate visual proposal - movement within that secondary framing? cinematic is cohesive narrative - J is perfect for the tanneries because his insertion into location gives the place a voice - or gives voice to spirit of place about to vanish -hanging suit in the factory as a closing statement on the current series - does the dramatic quality of the holga work better than the subtle shift of the hasselblad - subject poised between presence and absence - undermining the stasis - cinematic sequential dictates the moment before and after the frame - in a still the physical presence of the 'filler frames' is not necessary it is merely a suggestion to the mind of the viewer - shape that disorganises organization - the subject becomes the way to forming a metaphor  - is the location the metaphor? with its history seeping or is it the subject within the location? displaced by chronological context - historical - or is it a combination of the unconscious intent the subject and the location combining to form the metaphor - bringing the past into the present.

1 comment:

cat said...

The top image is just fantastic.
I can't even describe it.