A is for Apple

1-1_gandanalla_malcolmhutcheson_007-copyUnavoidably the viewer is a latecomer to the event and the photographer must try to short-circuit the feeling of powerlessness that is created by this. I suggest there is a narrative beyond the moment. It is a narrative beyond the individual photographer it is a narrative engaged with history.

I don’t like the photograph to disappear when one sees into it. I want the surface and the edges to be apparent, to remind the viewer that they are looking at a photograph, and as such it is not a mirror to the scene depicted.

It is in fact, the Akillie’s heels of all photographic imagery and film that we look at a photograph of a bunch of flowers and say, what a lovely bunch of flowers. We see a video and are confined without realising to one viewpoint. We teach children the alphabet, with images, A is for apple, not A stands for a pictorial representation of a form of fruit. We do this for obvious reasons, but as we grow up our visual senses and never re-aligned with the truth of the interpretive power of images systems.

untitled-1So in the Black and white works which are analogue images the surface of the negative, is scratched and pitted and no attempt is made to retouch this. This detail is both evidential of the process of image making and of the uniqueness and veracity of the image. I will never say this is Paul in this photograph. I will say this is a representation biased and from a singular moment which hopes to stand as significant in our perception of Paul.  Colour works which aspire to a realism are carefully sized in relation to the viewer to encourage the image to be seen as an image. My images play with this perceptual problem.

Boys bathing in the Canal, Mogalpura,  
From Ganda Nala by Malcolm Hutcheson, 13th May 2008.

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