Saturday, 4 April 2009

ecrasement du temps



what is the strength of it? - 'it' being? - you can only usewhat is there but the elements come together to create something else | le carre - the right convergence of pressures and misfortunes | at what point do you sacrifice the attention for the work? re- soth's last blog entry and johns comments regarding it - eventually the attention consumes the work | internet=emperor's new clothes | social photography? deep in the ordinary and bland, stripped of drama is another kind of drama perhaps - something slower | le carre - tomorrow was created yesterday echoes J's writing | EXTRAORDINARY RENDITION | if there is something genuine in the work and that is what you are trying to find and express, then you have to hone in on that and pursue it otherwise it just gets lost to a virtual audience | he has always risked himself opining the truth of the work as he sees it | the whole world is a crock of shit run by the barons of hypocricy | the smudge - land on the horizon | haven't seen rain like this for years, dark enough late mornings imitate dawn, some hope in slices of light. torrential Marquez rain, a cigarette parenthesis in silence, floods on the land reach the sea. framed images on the wall reflecting windows, the next steps. floods and torrents - 3 days or 100, rain thickens and expands time | check the lottery! | a person scattered in space and time, is no longer a woman but a series of events on which we can throw no light, a series of insoluble problems - m proust | is photography neutral? documentary - social photography haunts the hollow space of objective recording and yet that neutrality in itself is subjective in selection | the before and after moment - is it necessary to eliminate it? or is it the exploration of this non space? [after a lengthy period of heady impatience in the pursuit of result - to produce evidence of learning and vision - i'm impatient to take pause] | i am a reflection photographing other reflections, it is a melancholy truth that i must always fail. to photograph reality is to photograph nothing - duane michals - a failed attempt to photograph reality 1976 | the relationship between the mark and the surface - not stealing the place sculptors house - stealing the memory of the place - the pursuit of decay = gothic? decay and the enviroment of history, memory contained in buildings - what is its balance within the contemporary? if it is merely a recording it proposes nothing but the dialogue of abandoned objects - each one a composit of someones history or lack of - every enviroment + objects is a composit of someone's history | the fixing of time in a photograph - ecrasement du temps - erasure of time - a photographs capacity in dealing with available realities

1 comment:

jack said...

fleeting moment blurred
descending past a closed mail box
may suggest the emptiness from lost exchange

[the second photograph in this series -not posted- furthers the statement ]

what is to be made from a second person holding the mail box open
showing – its emptiness –
does this poses a question or is making a statement – if it is a question – surly it have been answered –
therefore does it is a becomes a statement of ambiguous intent – an invitation?