Puddles (1980) marks the beginning of an exploration into diptychs. The self-devised exercise was simple: compose a dual image print in the camera. Develop and print it.
Imagine this image hanging on the wall.
Click on it and tell me how do you feel when you look at it?
I used a 35mm stereoscopic, half frame camera which yielded 72 images per 36 exposure roll.
Similar framing in Bucket Boy (1980) enhances the pictorial elements of elapsed time and action. However, viewing these adjacent frames, one might find equal or greater viewing satisfaction by horizontally reversing the image.
Who can tell me why?
Boots and Toes (1980) was a spontaneous collaboration of three people.
Poolsharks, Florida @ 1987.
The spacing of half-frame exposures was not always consistent. There was enough slack in the film advance that half frames did not always enjoy separation by a black line. I like what happened here.
Back to the early 1980s.
My first triptych, Trucks, was inspired by my newly born son, Adrian.
Vrrrooom!
1 comment:
I liked Puddles the most. I like the ambiguity of reflectiveness. It is a landscape that becomes a dreamscape. Except for Pool Sharks, I find my curiousness about specific identity and/or where & when (ie Bucket Boy and Boots & Toes) dampened my discovery of a universal statement.
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