The initial idea about 'impossible places' which simply meant to be an abstract/surreal world where there is a selection of shapes and objects in the space where they don't belong to (as in Anne Hardy's works for example) - seems quite distant at the moment. Another reminder that in my way of working making plans usually doesn't work - all I need is a concept. The rest is a matter of empirically-led processes.
The straightforward captures of easily recognisable objects doesn't work for me even though displaced and out of context. It is not the particular object usually I want to record but the formal essence of it and not the stand alone one but in relation to its surrounding. It is something which is hard to articulate, very often present only in the particular moment, in the very specific light conditions and the surrounding. It is about the interplay between the object and space, light, other objects nearby...
Rudolf Arnheim in the "Art and Visual Perception: A Psychology of the Creative Eye" writes that "...every object is seen as having a location....No object is perceived as unique and isolated. Seeing something means assigning it a place in the whole: a location in space, a score on the yardstick of size or brightness or distance" (Arnheim p. 2)
So I focus on the objects in relation to places now. I photograph the edges, fragments, blurred areas, the gradients of light and shadows, the space between things... I construct the compositions with quite unusual framing, shallow depth of field, distant planes of focus. I really admire the grainy transitions between colours and tones and want to focus a bit more on them. The obsessive thoughts about the grainy nature of the world, the density of particles, the constant flow of matter all that is coming back every time I begin to analyse what I am doing and why.
The straight captures below which I shoot in the hotel room during the stay in Falmouth, will become a starting point for the construction of the compositions witch I am going to create using the the method I 'discovered' a couple of months ago (screen rephotography). The moire pattern which occurs on the rephotographed image, as a result of overlaying patterns, will add the new dimensions to the photographed places.
- Arnheim, Rudolf (1992 ) "Art and Visual Perception: A Psychology of the Creative Eye", University of California Press