what is the potential of the abstract for describing real things? It seems that in many situations, simply describing a scene or an object is insufficient; to properly understand our thoughts and environment, it is necessary to include conceptual and abstract ideas, in which case, what is the relationship between the real and the abstract?
certainty is part of a large series of photographs of everyday objects, taken with a simple rationale: take many photos, very quickly, without focusing or framing the shot, and then hope to find within the series some that fit together as a set, like a jigsaw with purely intuitive rules, in order to show some kind of unquantifiable abstract truth that often seems to exist within the familiar and everyday. ‘hope’ is that which turns uncertainty, randomness and fate into some strange quantity of certainty.
forest is part of a series which collected tiny slices intuitively chosen from photographs, into a grid. Where does the truth of an image or an object lie, in the details of the image or in the context of the environment in which the image originated from? This picture is related to the ‘poa’ (pornography of the abstract) project, which deals with the problem of how to represent reality, and what insights can be gained from abstracting to an extreme degree a given psychological/sociological issue. One conclusion is that it is possible to turn images of human suffering or manipulation into something aesthetically ‘beautiful’. Is that not horror? Perhaps more horrific is that it is so easy to do, and that abstract art can twist what is real into something where pixels do actually represent some kind of objective truth.
photography without context and memory, though that might be impossible without words, remains a strange sense of being able to capture moments that would otherwise be lost. there is a simple awe about the particles of light that we see, the movement from one state to another, dawn to sunshine, where the leaves glow, and dusk where the forms show themselves.