Much confusion - but welcome despite the narcissistically painful unease - about where to go, what to look for. Documenting was a different plane acknowledged from the start, as "Photographing People" had been and "Getting Close" will be too. But the predicted learning to be gained from navigating this interval is of course taking place, with its discomforts and shiftings and wrigglings.
Several planes, on which I walk drunkenly as if on ice floats:
. the visual: its primary pull, which tends to pull away from document; as well ultimately its necessary crucial nature for documenting to be photographic. To be documenting, therefore.
. the explaining. Trying to hear, with studentlike application (ie: blindly, thickheadedly, to compact excesses while you thrown your body into it), what the requirements of "the story" entail. What that can be, what language that is, where the body can find it.
. the narcissistic drama of the photographic relation. At Grand Central, in Times Square, the elephant with the camera. How to transform this into the work, the curiosity, the desire. How to streamline one into the other. Where the plane is, the rhythm is, which makes them be the same thing.
. overintellectualising, naturally - a comic reminder of this, a measure. Much of the photo exploration an exploration of precisely this: the simpliflying, the paring down, the under-articulating.
. HOW. That's what I'm looking for. Just the pith, the block-like substance of experience, of "how it is". Which bings together on one scene the how I and the how the people. Probably this very spot, the line of flight of photography for me.
Thing is: how to how.
Several planes, on which I walk drunkenly as if on ice floats:
. the visual: its primary pull, which tends to pull away from document; as well ultimately its necessary crucial nature for documenting to be photographic. To be documenting, therefore.
. the explaining. Trying to hear, with studentlike application (ie: blindly, thickheadedly, to compact excesses while you thrown your body into it), what the requirements of "the story" entail. What that can be, what language that is, where the body can find it.
. the narcissistic drama of the photographic relation. At Grand Central, in Times Square, the elephant with the camera. How to transform this into the work, the curiosity, the desire. How to streamline one into the other. Where the plane is, the rhythm is, which makes them be the same thing.
. overintellectualising, naturally - a comic reminder of this, a measure. Much of the photo exploration an exploration of precisely this: the simpliflying, the paring down, the under-articulating.
. HOW. That's what I'm looking for. Just the pith, the block-like substance of experience, of "how it is". Which bings together on one scene the how I and the how the people. Probably this very spot, the line of flight of photography for me.
Thing is: how to how.
