Today I visited The Museum of Modern Art in New York and the experience was truly inspiring. I saw photography ranging from Dorothea Lange to Nan Goldin, and the paintings of Pollack, Picasso and De Kooning to name and few. I also read an important quote by the painter Mark Rothko: “The progression of a painters work, as it travels in time from point to point, will be toward clarity: toward the elimination of obstacles between the painter and the idea, and between the idea and the observer.” This is exactly what I’m attempting to do when shooting for Project1. It is a constant: That I remove all that is extraneous, and hopefully realize the absolute core of what I’m photographing. I don’t believe that previously I had thought about it so clearly, but it does help explain why most of the time I’m more interested in breaking a scene into smaller pieces, and capturing what might be most important to the eye, the observer.
I’ve always known that it is of at least some importance that I have a clear understanding of what I’m creating. Though shooting for the pure love of it, and not putting to much thought into what the art is has allowed me to create with a lot of freedom, it will be become increasingly important for me to be able to verbalize some objectives so that I can explain to people what I’m doing and why. Art for arts sake is wonderful, but the art world at large, a place I hope to become more a part of as I continue to exhibit, will expect an elevator pitch detailing the inner math, or dialogue of what I’m creating. Much like philosophy, this is a dangerous place for me. If I’m not careful, I’ll make to much of something simple, and think too much of that which I create.
Tonight’s entry is a reply to the simple, yet elegant forms I saw in many of the paintings today.
Transformation – New York, NY
ISO 800, 24-70 @ 24mm, f/5.0 @ 1/320 sec – hand held – available light