the consequence of making a composite image – flattening many images into a single one – is that the individual images are at the same time made redundant and necessary. by making a composite, it is saying ‘the individual images are not interesting – but many of these uninteresting images are interesting’.
the underlying paradox of this needs to be confronted. composites are a tool for reconciling beauty and horror within static images. they have no context other than the reality of the images from which they are formed. the truth of the abstract is not something outside of the truth of the object.
the validity of the composite is determined by the validity of the individual images from which it is formed. therefore each image needs to reach for the abstract.
[reducing movement into a static image… but it felt like a dead end, because it could go on forever, since all movement can be reduced in this way, and there is no mystery about that. so this led to using composites to show movement in stillness. perhaps though, there is a way to reconcile the two]