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©2008-2009 `cryptorchid
:iconcryptorchid:

Artist's Comments

What began as an attempt to preserve memory in defiance of an ever-changing landscape of people has become an experiment in typology. Some of the People I (Don't) Know explores human interaction - the concepts of familiarity and intimacy. In photographing the gamut from people I know well to those I'm acquainted with, I examine my interactions with others, gaining new insight into these connections through an intuitive use of a toy camera. While we talk, frames are skipped, light is layered on film, some moments are isolated while others run together in multiple exposures. Interpretations of colour and light are altered by emotional reaction and become unique to the individual. No condition is perfectly duplicated from one shoot to the next.
This series is approached without any inclination to reproduce what the eye sees, or strictly adhere to what the machine records; instead I want to translate subjects onto film closely to how the mind remembers a person. This is to say, largely affected by subjectivity; emotion and experience. The contact images are documents of conversation, of established rhythms and changing dynamics, while the selected portraits become visual manifestations of fleeting moments; profound and tenuous associations.
While my presence is implicit in actions and reactions, only the subject is depicted, from this position, similar to mine when shooting, the viewer is left to interpret the nuances of the exchange; the distance between myself and subject, body language, laughter and silence. These portraits are suffused with the history of how we came to be associated; they are mnemonic devices which allow me to remember every interaction with the individual.
The need to remember, to preserve memory, became the impetus to catalogue, in some way, to keep in check what cannot be controlled. Some of the People I (Don’t) Know is a visceral reaction to change, and a method of coping with the loss/gain inherent to it.

Comments


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:icondooky-blood:
i really like these pictures, the statement makes me appreciate them more and fully understand the concept behind them.
its brilliant

--
"There is no way to be truly great in this world. We are all impaled on the crook of conditioning. A fish that is in the water has no choice that he is. Genius would have it that we swim in sand. We are fish and we drown." -James Dean
:iconzedka:
ah, another wonderful contact sheet... You should be able to print it so large it must be quite impressive...
:iconbalzzac:
its almost like each picture is better then the next

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:bulletred: Pinhole and Pinhole Experiments

:bulletred: ian + jamie blog

cold hands, kind heart.
:iconbalzzac:
i wish i could write like that :shrug: im just glad that for my first year at college i dont have to write any artist statments

--

:bulletred: Pinhole and Pinhole Experiments

:bulletred: ian + jamie blog

cold hands, kind heart.
:icondriesi:
It is really interesting to see how all this comes out of you, the artist, and how you describe your creative process. You don't seem to be doing this to make something to show other, but it seems to be your way of trying to understand and coping with the world.

I love how you question things that seem banal at first sight.
:iconoeuf-au-riz:
that's crazy i love this picture, or should i say, serie of pictures :D

--
Yeah, I'm a f**cking frog! :frog:
:iconsixbysix:
featured [link]
:hug:

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=SixbySix send your square art to our club
:iconsourceoftorment:
Fascinating and original :heart:
:iconbloodaffliction:
The artist's comments made this picture for me more than anything else. Are the lines on the film from the Holga?

--
Like the reluctant Eve who prefers tangerines to apples...
-House of Leaves

Details

October 30, 2008
520 KB
520 KB
750×750

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