As a filmmaker, the junction between still imagery and motion pictures fascinates me. Traditionally, the still is seen as a “moment in time” and the moving image is really born of multiple stills creating the illusion of motion when projected rapidly. Still photography and motion pictures are related but separate art forms.
Capturing motion within a still quite literally blurs the line between the static image and the moving picture to record a passing moment, to track a gesture, to trace a caress, all evoked by the subject.
To achieve this takes contemplation and time for play – time and play enough for the movement or gesture to mesh with the qualities of composition and light, so as to coalesce in an image that intentionally breaks through its static limits offer a glimpse of one of those magic moments when nature reveals its near intangible qualities and sparks in us an awe of the immeasurable, the incalculable, the unfixed, something akin to its breath, mid-stream, like ours.
The abstraction in these images is the result of a single shot each time. The joy of taking stills suggestive of motion lies for me in the fact that each image is captured purely through the lens. I see a distinct difference between images that originate in the real world and those that begin there but are abstracted after the fact with the help of computer software. The former express themselves in my response as an artist to my subject at that moment, and are more tangibly connected to the senses and to impulse – more emotive than intellectual.
As I work, I become aware that I am painting with light. Abstraction allows these images to take on the qualities of paintings, yet the power of each image lies in it being precisely what it is – a photograph. When we remove the boxes or borders around things and allow ourselves to feel their expressed space, they define themselves as they breathe.