Buspaintings 2004 - ongoing
There are two fundamentally different approaches to the use of the photographic medium: what I have previously called ‘taking’ versus ‘making’ photographs. While the first is based on the assumption that the image (or, ‘what I want to show you’) already exists ‘out there’ and uses the camera as a means to record it – the second is an attempt to collaborate with the modus operandi of the photographic process (including the tendency/capacity of extract and isolate a ‘moment’ from its chronological continuum, to compress 3-dimensional space onto a flat plane, and to isolate or re-contextualise the elements within the frame) in order to produce an image which did not (and sometimes could not) exist ‘out there’ – but which was brought into being by the way in which the medium interpreted and rendered ‘the things in front of the lens’ at that moment and from that perspective. In this way, the resulting photograph is both the record – and the product of – an active (an act of) collaboration with the medium and its ‘way of seeing’ both time and space. (This Bino is willing to learn.)
Extending the results of The Photograph as Surface project, in making the photographs in this and the subsequent series Submarines, I have introduced additional variables in an effort to further reduce the extent to which I was able to anticipate (and thereby exert control over) the final image – and thereby (I hoped) make more explicit the way in which the photographic process ‘saw’ and interpreted the Things in Front of the Lens at that instant and from that perspective.
This project invites the unanticipable contributions of two additional players: the modus operandi of a basic digital camera (which, with its delay between the pushing of the button and the recording of the image, reduced my ability to exert selective control over the image recorded) and the sway (motion-through-time) of coaches, city buses, trains and hired cars.