Skip to main content

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.

Comments

Popular posts from this blog

Photography as Art

Having spent Friday night in prison in Oxford I wanted to recuperate a little yesterday and so took the time to visit the Ansel Adams exhibition at Oxford's modern art museum. Now, back when I were a nipper during my phirst phase of photographic interest, between the ages of about 18 and 25 (before the Exeter sojourn and the heavy-duty clubbing period thereafter), I remember I loved his work. However, since then, sadly, a more cynical Patrick held sway for a while (cynicism, for a long while, being my idea of sophistication) and I rather went off his pictures, or at least, the idea of his pictures. It seemed to me that everyone who had even the remotest interest in photography cited Adams as a key influence and criticism of him appeared off-limits. During this time I wasn't even sure that photography was an art, and that Adams couldn't be as good as I'd thought because he earned near universal praise for his work (I know, strange distorted thinking, but that's how …

Sia Sumana opening night, We Are Cuts, Soho

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.