The Light of History and Allegory

Throughout the two months I worked on this idea I had a mental image of Jackson Pollock in my head. He was in his at his rural studio back in the 1950’s in jeans and a long sleeved shirt singling paint repeatedly with brushes, sticks and even by hand onto the canvas resting on the floor. He was dancing around as though Merce Cunningham (1919 - 2009) himself had choreographed his movements. Here I was doing the same thing but, in the 21st Century with a camera instead of brushes, and pixels rather than paint. Similarly, I handled my camera much in the same way Pollock did his paint cans and brushes, which is to say never standing still always moving and trying to coax something new from myself.

 To me seeing is a dynamic activity, one that requires us to use more than just our eyes.  It requires us to use our minds and imagination.  What I have attempted to do in this series is create a new vision, one that takes the viewer beyond the clichés of standard long exposure photography of street lights or moving cars and into the realm of the invisible.
The background I created, an innocuous piece of canvas with glitter on top, is only the means to the end.  It is not until Ipoint light or allow the sun to reach the canvas that anything happens.  It is my vision that creates the light for others to see.  During this flight from nothingness, intuition and chance inspire and drive me to record what is not inevidence.
I never looked at my images while photographing even though I was working digitally because, I wanted the entire spectacle hidden from my outer eye during the process of capturing the light.  To stop and look would have lessened the involvement of chance. It would have halted the momentum of the photo shoot.  I wanted the empty frame of the photograph to be charged with the “kaleidoscopic spectrums of light.”  My goal was to achieve an intensity of color,hues, and a deep rich surface that has both a physical and visual texture.

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