Composure
The work orchestrates a slippage between the real and the fake, between a
familiar scene and a re-reading as still-life. Deprived of self-consciousness,
they are void, uninhabited positions, providing a space to pause, like their
protagonists, in mock-reflection. In this indeterminate state, meaning is
lost and once re-established can never regain it’s definitive nature.
“The image is first cut from the visible. Movement is held up, suspended,
inverted, arrested.Cutting is more essential than presence, both by framing
and by the controlled purge of the visible.
Skirting affectionately a line of waiting issues concerned with the role of
photography in the provision and disreputation of visible proof, what remains
is a more specific question about the cutting edge of the frame. What sets
out to be probing the less controversial but finer detail of the circumstance
when an image was constructed, becomes a tug of war between the formal and
the narrative, the classical versus the romantic, between particulate matter
and the wavefunction of the poetic imagination.
Don’t collapse. Do collapse.