The cold and the shake of the hand

2013-11-20 19.09.572013-11-20 19.06.49 2013-11-20 19.01.59 2013-11-20 18.59.58 2013-11-20 18.56.03 2013-11-20 18.39.23 2013-11-20 17.28.57 2013-11-20 17.30.14 2013-11-20 17.36.25 2013-11-20 17.25.56 2013-11-20 17.25.00 2013-11-20 17.24.11

Much of the effect of the photographs I have uploaded came simply from the cold.  Representation doesn’t come simply from the effect of light as it bounces through the lens, but the atmospheric affect of the conditions in which the photographs are taken.  These can be atmosphere defined by climatological conditions; but could also be affects of mood refashioned in temporal passing.  Here it was cold; but, in my view, there is also something positively catastrophic about Morecambe in the draw of winter.  These are spaces where façades have been built on the sunny happenstance of the promenade and the familial holiday; here they are refashioned as liminal representations that purposively play on the refraction of surface dreams of the good life.  I attempt to utilise the harsh angle of incidence of the sun and the slight shake of my hand from the batterings of the wind, to give the affect of fuzzy temporalities (see http://commonknowledge.dukejournals.org/content/17/3/441.abstract; fuzzy studies are actually a thing!) in “minor” spaces: the incorporation of the sun creates limited visibility from disturbed angles; the use of high sensitivity creates an extra blurring of lines of demarcation.  They are, however, quite artistic images.  There are few “subjects” in them; they only carry the microworlds of an architectural blueprint of lost steps, and departed circumstances.  In this sense, it is possible that these images produce a lack of intimacy by their closeness with the built environment, rather than a greater closeness with their subject: that is, time passing on a frontier.

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