'drei' (German: three) developed concepts of context, implied narrative and space to communicate, amongst other things, darkness and danger. Images are, for me, inherently loaded with stories. I am interested in what or who is not there, what I can’t quite see and the helplessness of not being able to ‘ground’ an image in a time line. If something moves the viewer or I is it something more than social conditioning? Is there an innate aspect involved? Is there a transference that occurs when darkness and danger are implied? What preconceptions do the viewer and I bring to the experience? How does scarcity, complexity and proximity in both content and composition inform this process? The conclusions I draw are coloured by my own personal experience. Despite supposed impartiality or objective intent, I always project my own narratives into a scene. Ambiguity creates an immersive experience for the viewer with the referential becoming critical. What role does ignorance or knowledge play in how power is either taken or given to an artwork? The edition prints are large and very detailed. With this there is a paradox in the confrontation. The protagonists are making eye contact and are almost challenging the viewer whilst they themselves are empowered to examine their confronter in an intimacy not normally afforded. It’s a bit like being able to walk right up to a screaming person and feel their breath without any threat of a bite. This also reflects the image-making process in that they were produced in a very small space with both the camera and I being very much in the sitter’s personal space. By contrasting diptyches in an exhibition context, the ambition was to invent a deeply personal and confronting but, at the same time, completely fictional narrative.
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