At this time of year, life speeds up – my default-world job is at its peak busy time; spring is upon us and everyone wants to get together; and events, holidays, and birthdays abound – which leaves little time for photos.
This used to bug me, as I really like to keep shooting if only for practice and to keep any momentum I have going. But now I just let it be and take time to reassess and make plans for the summer. I often come back to fundamental questions – Why do I do what I do? Why do I shoot what I shoot? Where do I go from here?
I don’t always come up with great answers to these questions, but this year I know where I am going, as I have a big summer project lined up. I will be exhibiting at the Reno Tahoe International Art (RTIA) Show again this September, which is one of the most prestigious art shows in the immediate Nor Cal/Nor Nevada area. I participated last year in the inaugural show and for that, I printed large prints of my series “WaterColors” which (I think) ended up being read as paintings. That is not a bad thing, but I really want my photos to be read as photos. So how do I do that?
I spent some time this year taking a good look at photo exhibitions - how the photographs were displayed and how different displays really separated photography from other art forms. The ones that really struck me provided an accessible context – a fundamental question or theme - and were displayed in manner that deviated from the traditional black frame-mat-hang-on-a-wall format. I really focused on the exhibition work of Masao Yamamoto for inspiration and direction, and since then, I have seen many other photographers display their work in a similar fashion, which is eschewing the frames-mats-and-wires set up, and simply placing the photos on the wall – or on the floor – or in the air and let them exist as the entities they are. I love that idea!
So my summer project will be to design and organize my installation for the RTIA show that I have titled “Fifty Poems”. I rented a small space this year and will be filling it with 50 of my favorite photos that I will hang on a thread so they are suspended and unattached to the wall space. Some will be color, some will be black and white, some will be monochrome – it just depends on the photo – and they will be of various sizes. I will write or type the title of the “poem” on the back of the image for folks to read if they like. I plan to dive into my photos all the way back to 2014 and choose what I see are photos/poems that have been lurking in the shadows for the past nine years. They may not be the prettiest – in fact I know of one I want to include of a dead snake that is definitely not pretty– but they will make visible the poetry I see in the world, every day, all the time.
I don’t take this label of “poetry” lightly. I always stop in my tracks when someone describes my work in that way. But I am always honored. As a former student of literature, I felt poetry was the highest form of written expression – and I am honored that people feel a sense of poetry when they look at my work. I hope this installation will evoke these cathartic feelings – or at least some feeling of awareness – as they view it.
So that’s my summer – choosing, printing, writing, and preparing “Fifty Poems.” It’s going to be a lot of work – but it's going to be great!
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