Reflection point: absence and signs of life

IAP, p94 discusses with work of William Eggleston and John Szarkowski’s introduction to Eggleston’s work in the catalogue accompanying a 1976 MOMA show. In essence, the point made is that it is not the photographed things that are the works of art, but the photographs of the things transformed through the view of the photographer and camera. They become fictionalised in an alternative space, ‘one balanced loosely between recognition and art’.

We are asked to reflect upon:

  • Where does that leave the photographer? As storyteller or history writer?

It is sometimes difficult for us to tell the difference between stories and histories – the political and cultural forces shaping the presentation of history can distort it to the point of becoming a story-like. So, I would generally treat ‘history’ with some care, but do not doubt that there are some histories that do their best to present an impartial and balanced view of past events. However, there must always be a selective view or frame from reality – it is not possible or desirable to consider every aspect when making a history; we would never be done writing or reading. So, in some ways it is similar to a photograph being a slice from time and space selected by the photographer as a visual author. I therefore think that perhaps photographers are a little of both storytellers and history writers – moving along a continuum depending on the work, but never purely one thing or the other.

  • Do you tend towards fact or fiction?

I tend toward fiction with my photography. I’m not so much interested in documenting things as they are but creating a story or an emotional response based on my subjective reading of an objective. I work in a day-job that is supposedly strictly concerned with facts and my photography provides a release from that.

  • How could you blend your approach?

My approach is already largely blended, representing objects and people as parts of narratives they are not intentionally telling – an oak tree representing the story told in the letter of a survivor – a real place representing a fictional place, based loosely on a different real place. Truth is used as a point of departure into a world of fictional narrative that touches reality at some points.

  • Where is your departure from wanting/needing to depict reality?

I feel no want or need to depict reality, but to show my interpretation of a person, object or place. Being a photograph, it will have an indexical relationship to reality, but it is not the same thing. Often there is a fictional narrative pieced together from tiny disjointed fragments of time / space. Not reality.

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