Around two years ago, some fascination with windows had been planted into my brain (I want to blame Kubrick, but I only have a sort of inkling as to why, and I already blame him for my mysterious interest in prostitutes – but that’s for another time *notes idea for another blog*). Anyhow, towards the end of 2016, I ventured to give it the attention it deserved as far as time constraints go, and so I based one of my school projects on this seemingly out-of-nowhere intrigue.
When it first entered my mind, I wrote a little poem (if you can call it that) about every association I could make to windows. I cringe to this very day about having shared it with two of my peers, but their reaction differed to what was expected and turns out they thought my ideas had potential for some interesting development. You won’t find the poem here, but stick around and you may witness your fair share of other embarrassing stuff.
This was my earliest experimentation and it involved three layers of image. It had been created to fulfil certain grading criteria and get the ball rolling, but it is significant in some way because it marks the point when the ideas began to manifest. At this point, I was thinking about notions on public and private spaces, portals, and framing.
During its construction period, each separate room had been given individual importance as a unique space that framed only a segment of an entire, complex human life; yet the composition as a whole was also given importance as a collection of all these individual spaces. This is far from a natural composition, meaning that the images were downloaded, edited, and placed exactly where I wanted them. It interested me how, in truth, everything existed separately – that is to say, in a different context somewhere on the internet, and yet my placement created a complete abstraction of these real situations. One of the things I wanted to do was highlight the individual windows as a framing device of something more elaborate than it appears and simultaneously have these little compositions framed as one larger composition, placing paths together that have never crossed in the real world: a stripper from the red light district, a real thief caught on CCTV camera, a couple – originally strangers in a nightclub that have probably never spoken to one other, etc,.
This was the first and close to last of my experiment with physical and solely still image, as the rest of my experimentation happened to include moving commercials juxtaposed with buildings I have shot myself. The idea is still there but slightly different; these interiors no longer have the depth of personal, intimate lives of everyday people, but more of a what-you-see-is-what-you-get arrangement. In this way, it is like putting a façade on a façade and keeps its viewers right at the surface of its flat dimension. On the other hand, the previous example had even been printed over a number of transparent layers of acetate sheet to enhance the sense of space behind the windows. I guess that, in a way, the two are completely opposite from one another, yet both have a distinct absurdity to some degree.
There is only a portion of my thoughts on the subject at hand written here, and I plan to release more and more slowly, given that I manage to explain myself well enough in writing. These early experiments were the beginning of what is an on-going exploration, and I would love to share with you what it has led me to in due time. I guess these seemingly random allurements are worth exploring, even if they remain rather mysterious to you.
As always, find me on Instagram and hit me up if you have some thoughts or simply want to say hi!
Over and out