The Bernadinian photo-philosophy can be summed up in five words. They are: astound, confound, provoke, intimidate and gorgonise.
He is after two things in his photographs: One, they should have tension and Two, they should have narrstive. "There is no place for conventional beauty, it is ugly beauty that I seek".
Also, and something which has plagued me for some time, he is 'Anti-portrait'. He says, "I began to use shadows, crop faces, and to partially or totally obscure them in my snaps. When you see a face you reflexively begin to read it. How old is it? What sort of experiences has it had? By denying the viewer the face, I force his eyes where I want them, and that is to the event" Exactly! The eye of the viewer will go straight to the face. If there is no face, then everything else is up for grabs. So, one draws what one sees, and this will then become the interest of the viewer. You will know that when I include a face I draw only one side, one eye, when it is essential to include the head to make a point, e.g. in recent examples when I have a chin resting on a hand, an elbow resting on a knee, a foot resting on the floor, then the issue being explored is the series of supports throughout the length of the pose. Including the full face in this sequence would most certainly distract from the narrative.
Wednesday, 3 August 2016
Suggesting a context for my art: Four