Notes on Photography (unrevised) Two

Alexis Nihon Plaza, solarium, 2013

8. Reading Time and Life magazines in the 1950s and 1960s was a communal experience, shared weekly by millions of people across North America. Life magazine contained wonderful photojournalism, while we all accepted the articles in Time magazine as accurate reports of what was happening in the world. Both magazines (but especially Life) relied on photojournalism. Photography, published in a mass circulation magazine, had a place in our lives that we took for granted; these photographs changed the way we looked at the world and therefore changed our paradigm regarding the world. 

9. Looking at family snapshots has always been an important experience for me. I regret the absence of more photographs of the Irish side of my family, while the English side took many photographs of each other. The earliest family photograph on the Irish side is one of my grandmother and two of her sisters, probably Essie and Edna, with another quite attractive but unidentified woman, and perhaps this woman’s child, and a boy I believe is my Uncle Herb. The photograph suspends in time that moment in which it was taken. Here is this group of people who are stopping only for a moment to have a picture taken (around 1920) and then returning to whatever it was they were doing. 

10. Here is what I am trying to do in some of my photographs: I am attempting to capture a moment of silence and solitude; I am attempting to photograph the moment when chronological time, the finite, seems to give way to the infinite and then returns to the temporal world after the photograph is taken. These moments that come to us are outside of chronological time, and I have attempted to capture them in photographs. I first experienced and knew these moments as a child, sitting with my grandmother in her Girouard Avenue flat. There wasn’t much to do but sit in the space of silence created by an old person; I was never bored, her presence has stayed with me and enriched my life. 

11. As far as I can see, regarding digital cameras, the available technology far exceeds anything most people actually need. My series of photographs of a tree in our backyard, photographed one winter night when it was snowing, were taken with an Olympus camera I was given for opening a bank account. It is the artist’s vision that creates art. 

12. I am also concerned with archetypal images. There are several layers of archetypes, for instance, there are archetypal patterns of relationships (mother-son; father-daughter; and so on); there are also archetypal objects that can be found just about anywhere. It is the latter that I have photographed, the archetypal object (for instance, stairs, trees, water, rivers, and so on), which is also an entrance way to the unconscious or the collective unconscious. My archetypal photographs are meant as visual representations of archetypes as well as psychic openings to the collective unconscious.