The digital image is an image file. It has no form and is invisible until it gets interpreted and transformed by software or the internet user. In the process of being made visible it is staged or performed.
“What is held onto through a photograph, is no longer the disappearing object itself but something that appears or becomes visible in the moment of its vanishing: as it were, the last glance that it casts at us, or the last glimpse of it that we can catch.”
“First, when everything seems unique, and there is an unbridled desire to know, see and discover. It’s important to take advantage of this initial energy, before routine sets in and the eagerness to notice things decreases.”
“The current political narrative that paints immigrants as invaders has been a part of our national conversation for a long time. I want people to be reminded that there is a long and deep history of immigration that forms the basis of our country’s strength.”
“The title Moksha is a Sanskrit word for liberation or emancipation and for me relates not only the freedom gained with independence from the colonial rule but alludes to a freedom of the mind, a spiritual freedom of unlinking oneself from the bind of oppressive states of existence.”
“Yosemite and the like are places that are certainly worth preserving, but they do not reflect of our contemporary environment which is characterized by a compromised, struggling, and tenacious Nature – the nature of the Anthropocene. It is a nature that includes us.” I am always interested in how people come to making art. […]
“There are downsides of course to these multiple identities. You can find yourself developing a bit of a split professional personality and it can make it difficult at times to know where to best direct your energies. Other people struggle with your split loyalties as well.”
“Haunted by a crisis of faith in its authenticity, the documentary genre is continually trying to re-position itself in relation to today’s excesses of a post-truth ideology and blurred frames of realism.”
What aspects of this collaboration, both Thompson’s and Reynolds’ are complicit in the same ideology and methodology of representation that perpetuates this distance between the photographic, its technological apparatus and its subject matter?
“It is an aesthetic examination of the material of everyday life that barely impinges on representational issues and I love that about it.”
“Instead of seeing Goldin’s re-edit as encompassing the visibility of any specific group, it invites reconsideration in an approach delinking the narrative of otherness towards what I see as a photographic project of genuine care.”
“I do not want to represent, full stop. I want to present the outcome of correspondences. And I want those outcomes of correspondences to not be final results but part of potential other correspondences.”