Dead, dry remnants of once thriving life, or nature taking a break to charge up for its eventual rebirth? You decide. I just make pictures.
I love the sheen of sunlight on a dark surface, be it asphalt, weathered steel or even plastic. There’s something magical in the patterns of the everyday world, the stuff we glance over every day, and there’s nothing better to reveal the magic than late fall sunlight.
The public art/spaces panorama project is de facto on hold, along with the rest of my photography, while I devote my time to studying for my architectural license exams and steaming over the destruction of America by Orange Murder Clown (thanks, Alistair). Still, I wanted to sum up the progress so far, and I thought my extended show at Les Nereides (108 N State St, Chicago) would be a good benchmark:
There are also a couple I didn’t have the space to show that I thought weren’t half-bad:
This being Chicago, there’s plenty to choose from, and plenty to revisit. Now if it wasn’t for those pesky licensing exams…
I’ve been thinking of a summary for my long-exposure project from a couple of years ago. I decided I really needed to do a solid edit of what I had, and to think about what it really meant. I had two major concepts at the outset – of once again shaking up my own self-imposed formal austerity and of maintaining a balance between abstraction and representation. As the project progressed, I realized that I was making images that resembled memories of everyday things we all have – things like the face of a passerby, or a building that caught our attention in passing. These aren’t crystal-clear memories, not the type of things that might stick in your head if you witness something extraordinary, whether good or bad. No, these are memories of everyday things: ones you remember, but not very clearly. You could call them impressionist memories.
I think the most successful of these images achieve my initial goals and the subsequent focus on examining visual memory. Formally they’re more dynamic and colorful than anything I had done before, even my floral time-slice series, which, though colorful, did not have the same variety of form as these images do. I also think that the focus on remembrance adds a level of depth that sets it apart from my other ‘formal’ work.
Anyway, here they are. Let me know what you think.