Flux and Ambiguity
There is a bourgeois concept that photographs are said to be epistemically superior to other types of representations. For me as a Photographer this is far from clear and the aim of the Restricted Light Project is to reduce the sense of nearness and proximity to the Object and at the same time develop a sense of nearness and proximity to the Photographer’s Eye. These objects are there in the environment, but they are in a state of visual flux, so I am exploring alternatives, to see if there is an approach that I can develop, in which one could question this superiority. In a sense to add flux and ambiguity, and remove certainty.
Because in a painting we cannot say “this is what the Artists saw” something we can do in a Photograph. For in Photography the image must be framed, focused and exposed using the Photographer’s Eye and perception. The Restricted Light Project inverts Andre Bazin’s contention “the image acts upon us through its origin in the being of the model/object” to “the Image acts upon us through its origin to the Photographer’s eye”
One Response to “Flux and Ambiguity”
Hi Stephen, I’m all ears/eyes… I’m all agog, but I’m not making any utterances “YET”. James here