![]() ![]() ![]() In this case, that happens to be Issuu, which limits its documents to 500 pages, and I’ve edited about 800 images down to that many. Rather than take this approach of careful curation, I decided to include as many photographs as I can within the limitations of the medium I gave myself. But how can you capture something that must in itself resist being at the center, or inside, or clearly outside. ![]() Photographers are trained to choose the one image that captures whatever it is that an event or a brand or an idea is supposed to represent. Given the difficulty in pinpointing liminal spaces within the photograph, it occurred to me that the same can be said for the photo editing process itself. This made it quite difficult for me as an editor to decide which images to include in this set and which not to include, and I ended up including them all. It was curious to me that while Kokoronis in this series of images seems to be in mid-explanation, Mithal can also be seen interacting with Kate and shuffling through her map, which shows a certain fluidity in how the interior and exterior spaces of interaction between them are constructed. In this series, I became curious about how Kokoronis’ animation made her the focal point of interaction, and moments when the space she occupied became more and less expansive: This resulted in me taking serial photographs as they interacted. ![]() I found myself mapping my own space as I observed them, specifically the space of their interaction with each other. I followed the second group this time consisting of Kokoronis, Mithal, and a woman I only knew as Kate. The second part of the workshop involved going back to three places and spending time there to map the appearance, disappearance, and reappearance of liminal spaces over time. In whichever direction, this comes closest among my images to a picture of liminal space. The invisibility exists between an interior constructed by the finger and an exterior constructed by the statue’s foot, or possibly the other way around. It seems as though the subject of the picture is invisible, constructed by the interaction between my camera and my casual shutter-clicking (because I doubt that I could ever deliberately compose a picture like this). Of what? An out-of focus hand? A foot? Or is the picture in the space where both the hand and the foot seem to be gesturing, a space whose boundary seems to be in the background, though it really isn’t the subject of the picture. I followed the first group, which consisted of Hays and the dancer and iLAND Director Jennifer Monson, during the initial phase of the workshop as they negotiated various barriers, fixed and mutable, natural and man-made, such as when I caught the two holding hands in the liminal space between the bike path and the sidewalk, as a skateboarder in a liminal position himself was passing them: Liminality, so elusive at the start of this workshop, seems to be everywhere.ĭuring the course of the afternoon, two groups first explored liminal spaces in Union Square Park and along the streets towards Madison Square Park five blocks up. Was this something that I saw through my viewfinder or was I in the mode of shooting without seeing that I clicked the shutter without looking even though I could have? And is David really the proper subject of this image given that we don’t see his head? There is a stranger’s face that seems to be in focus, yet compositionally one might argue that the obstructions and the out of focus elements in the foreground of the photograph constitute more of its subject. This image seems to have been taken at about eye level and focused on my subject, the landscape architect David Hays, though a railing seems to be obstructing my view of his head. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |