Work is progressing, if slowly.
There’s been a broadening of my practice, of late. One aspect of that is the technique of layering. Usually, what I want is two photos that complement each other. Other times, it is the more typical process of using a texture layer, as here. It’s been clear to me for a while that the inclusion of layers adds layers of meaning if done effectively. I like to, and prefer to some extent, to be able to do it in the camera, which is part of the reason I purchased a Canon 6D recently. But the process of adding layers in post is also appealing.
Gradually, I am coming to see what I do as camera-based digital art; or whatever such a thing could be called that is less clunky. In film days, there was perhaps a certain cachet in stressing the “decisive moment.” But those days are past. The trend of photography as expression has evolved over the past 30-ish years into a realm of pre-visualization that often includes some explicit narrativity. This field is wide, ranging from Wall to Witkin. For me, the central concept is still shape and structure over story. Having two or more layers interacting can result in a work that exceeds those parts individually. A sense of abstract narrativity, of a narrativity without words, pushes images into a realm of imagination and evocation. Meaning can emerges gradually for the viewer.
While there might be some vague relation of this sense of structure to Minor White’s ideas of “equivalence,” there is no mysticism in my work. There is no higher, or transcendent, realm to seek or discover. It is just this world, seen. And this world conceptualized, through conscious perceptivity. The artwork creates it’s own reality, creates it’s own presence.