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Soho Morning II








What I'd like to do is say something new. But perhaps photography cannot do that? And besides, why something new? What's wrong with honing the old? Am I not always thinking, if rarely saying, that art now is too quick to attempt to destroy the old and put up something new, something provocative, before we've even half-way exhausted what the old is capable of? And also, don't I want an oil painting of the view through a car windscreen on a rainy winter's evening on the M6 at the junction with the M54, done with all the style and attention to detail of a Caravaggio? Yes, I do.
Anyway, the above are an attempt at something new, something ambiguous, something with the aleatory to the front and centre. But perhaps I ought to explore the old for a while longer yet.
Another thought occurs to me: the aleatory appeals because it is the closest I can get to being surprised by my own work - with muse as partner, freshness is possible. This makes me happy. And closer to Pollock than I would like. And no, I don't mean I'm in the same category, league or anything else: I'm not deluded.

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My trouble is

when I'm confronted with a request for headshots, say, I can't just stop there I have to start experimenting. I mean, you wouldn't put this on Spotlight or the IMDb now would you? Ah well, I wouldn't do it if I couldn't, if you see what I mean. Above is the ever-beautiful Claire-Monique Martin taken on Friday. Other photographs were procured.

Trump'ed on

You're probably sick of reading Niemöller's quote but here it is again - why not have another butcher's':

"First they came for the Socialists, and I did not speak out—
Because I was not a Socialist.

Then they came for the Trade Unionists, and I did not speak out— 
Because I was not a Trade Unionist.

Then they came for the Jews, and I did not speak out— 
Because I was not a Jew.

Then they came for me—and there was no one left to speak for me."

(from The Holocaust Encyclopedia).

I've read it so many times throughout my life that when it appeared in my Facebook feed I'd roll my eyes and scroll past wondering why some unimaginative ass had bothered to post it yet again - didn't we all already know it off by bloody heart?

And now here I am, another unimaginative ass, posting it on the web and ensuring that both my readers are pissed off and bored. Only it does have a new urgency now doesn't it? I mean with The Orange One in power it becomes resonant again…

Waltercio Caldas

Portrait taken at Cecilia Brunson Project, Bermondsey.

From Wikipedia:

Waltércio Caldas Júnior (born 6 November 1946), also known as Waltércio Caldas, is a Brazilian sculptor, designer, and graphic artist. Caldas is best known as part of Brazil's Neo-Concretism movement as well as for his eclectic choices in materials.