'Five' explores the power of ambiguity, minimalism and ?Äòthe frame?Äô in photography. It develops concepts of implied narrative to communicate, amongst other things, darkness and danger.
Images are, for me, inherently loaded with stories. When I see a broken door or a crumpled piece of paper I interpret these further than simple objective observation. 'Why' and 'how' are impossible to ignore. Using very limited information and my emotional response I 'fill' in the gaps and create myths.
I am interested in what or who is not there, what I can't quite see and the helplessness of not being able to 'ground' an image in a time line.
If something moves the viewer or I is it something more than social conditioning? Is there an innate aspect involved? Is there a transference that occurs when darkness and danger are implied?
What preconceptions do the viewer and I bring to the experience? How does scarcity, complexity and proximity in both content and composition inform this process?
History is hysterical: it is constituted only if we consider it, only if we look at it - and in order to look at it, we must be excluded from it. - Roland Barthes, Camera Lucida
The conclusions I draw are coloured by my own personal experience. Despite supposed impartiality or objective intent, I always project my own narratives into a scene.
The ambiguity in the images creates an immersive experience for the viewer. It all comes back to the referential. Ignorance vs knowledge and whatever power that takes or even gives to an artwork.
