Rhythms, patterns and coded meaning
For the last twenty-five years or so, my work has been assembled on computer screens.
It allows for many ways to reenter the stories, re-living the sentiments in the photographic images. Samplings of time and place yet belonging only to themselves.
Going into the my archives from the pre-digital, the many formats shapes and sizes of negatives there, no longer appear as single instances, more like fragments of a whole. Samples from one life.
This then becomes the alphabet or grammar in new photographic composites or remixes. In an illusion of having godlike, almost total control, of every aspect in the expression.
When photographing new images, it often takes on a function of filling gaps and holes in this project.
The work is then presented. In frozen moments. For a while, until the same or other fragments of an image catch a new wave of inspiration. Never ending change. The possibility for any given moment to retell itself.
And again, as always, the only things that fulfill the longings are the joy of recognising the unexpected. The demaskings, the recognition of meaning or depth. The retelling of the untold.
Learning something new and something old at the same time.
One, seven, three, five
The truth you search for cannot be grasped.
As night advances, a bright moon
illuminates the whole ocean
The dragon jewels are found in every wave.
Looking for the moon, it is here,
in this wave, in the next. Hs’ueh-tou (980-1052)
“One, seven,three,five is supposed to suggest life’s unpredictability. Anything can happen. Life does not follow a set pattern. If we wonder where truth is hidden or whether we can find worthwhile work, we will restlessly look beyond ourself. But just as the moonlight glitters on the crest of every wave, every thing and every person is important and has his or her own splendor. Not a single thing is insignificant”
( an interpretation by a female European zen-monk. I read it once and copied it, but now I cant find her name, I’m afraid )
