The camera treats reflections like a time/space compressor, meshing what’s in front with what’s behind. The photographer is simultaneously the observer and the observed, inhabiting a world only fleetingly perceived. Store vitrines, restaurant or gallery windows — any window on the street is a likely venue.
Cities are a great place for this because they’re constantly in flux, with different groups passing in different ways, or leaving different kinds of trails. Some of those trails might look like garbage, but actually you’re looking at the traces of how people live and communicate. It is worth noting, however, that these photographs are not manipulated in any way, except for adjustments in contrast.
“Sights” is a study of the “magic moments” of physical convergence which the photographer was fortunate enough to witness. Figurative in nature, they examine elements of human nature in which need and desire are often in conflict.
This little cinema was projected through a small window onto a tile wall in my house. It became a study in Tao for me, observing the continual and progressive changes as the sun shifted, the leaves fell, grew, and something invisible became visible, then vanished, and how the show diminished in complexity as time passed, until there were just one or two faint smudges on the wall. Then the light went out. I’d observed the life and death of a whole world of fugitives.
ALL PHOTOGRAPHS COPYRIGHT © 2004-2014 BY VINCENT WINTER. ALL RIGHTS RESERVED