TAKING / BRINGING
By MICHAEL PERKINS
INTELLECTUALLY, I KNOW THAT PHOTOGRAPHS DON’T NECESSARILY HAVE TO BE “ABOUT”, well, anything, but that doesn’t stop the 12-year-old photo newbie deep inside me from trying to produce images with “meaning” (yawn). Some reason to look. A subject. A story line. A deliberate arrangement of things for the purpose of communicating…something. Itchy and twitchy within my artist’s skin as I always am, I am never more out of my element than when I make a picture that is pure composition and form, a picture that has no reason to exist except that I wish it to.
As I get older, I get looser (no G.I. tract jokes about the elderly, please), and thus making what you might call “absolute” images gets easier. I just had to learn to give myself permission to do them. Unlike Atget, Brassai, and half a dozen early pioneering photographers, I don’t have to take pictures to earn my bread, so, if I capture something that no one else “gets” or likes, my children will not starve. Still, the act of making photographs that carry no narrative is far from native to me, and, if I live to be 125, I’ll probably learn to relax and really do something okay by about 93.
The process can be a head-scratcher.
The above image is an “absolute” of sorts, since I have no emotional investment whatever in the subject matter, and have nothing to reveal about it to anyone else. The arbitrary and somewhat sterile symmetry of this room, discovered during a random walk through a furniture store, just struck me, and I still cannot say why. Nor can I explain why it scores more views on Flickr over some of my more emotional work by a margin of roughly 500 to 1. A whole lot of people are seeing something in this frame, but I suspect that they are all experiencing something different. They each are likely taking vastly varied things from it, and maybe they are bringing something to it as well. Who knows what it is? Sense memory, a fondness for form or tone, maybe even a mystery that is vaguely posed and totally unresolved.
“Even though there are recognizable objects making up the arrangement, the result is completely abstract.There isn’t a “human” story to tell here, since this room has never been inhabited by humans, except for wandering browsers. It has no history; nothing wonderful or dreadful ever happened here. In fact, nothing of any kind ever happened here. It has to be form for its own sake; it has no context.
I liked what happened with the very huge amount of soft window light (just out of frame), and I thought it was best to render the room’s already muted tones in monochrome (it wasn’t a big leap). Other than that, it would be stupid to caption or explain anything within it. It is for bringers and takers, bless them, to confer meaning on it, if they can. As I said earlier, it’s always a little scary for me to let go of my overbrain when making a picture.
Then I remember this is supposed to be about feeling as well as thinking.
Follow Michael Perkins on Twitter @MPnormaleye.
- First Critique (cohensrphotography.wordpress.com)