Sep 142012
 

These didn’t make it to the final cut either; but they are images that I quite like and will eventually use in another project sometime. Why wouldn’t an image I like not make the cut? Usually because something formal in the image makes it contrast with others, or loads a sequence with a type of emotional impact that could be considered manipulative in the context of the work I am making here.
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The extreme symmetry making the eye tunnel into bits and pieces of boats, continually chopped up by the architectural object in the foreground. As much as the photograph pleases a certain appetite for symmetry; it presents it with a boldness and deliberateness that contrasts with the kind of rational distance I want to maintain in order to remain true to the “new topographic” aesthetic.

Trout River NL, 2009

Trout River NL, 2009

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Making engaging photographs in the absence of light is a favourite challenge of many photographers. The ability to play with exposure and slowly, gently; light becoming a thick fluid that you allow to come into contact with the light sensitive surface. It is seductive, but ultimately quite dramatic in a very superficial way. I could not see how these could be at home with the body of work that has become “Plant”.

Steel I - Isle Aux Morts NL, 2009

Steel I – Isle Aux Morts NL, 2009

Steel II - Isle Aux Morts NL, 2009

Steel II – Isle Aux Morts NL, 2009

Steel III - Isle Aux Morts NL, 2009

Steel III – Isle Aux Morts NL, 2009

Steel IV - Isle Aux Morts NL, 2009

Steel IV – Isle Aux Morts NL, 2009

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