State of Play
Sometimes the liveliest things on the street, especially in a small town in Provence where no one ever seems to be around, are the vestiges of inanimate things that suddenly appear. My way of working is to respond to whatever comes up for me out of my passage through time and space. It could be nearly meaningless, ordinary, dumb, or unlikely to be of greater interest later on, it doesn’t matter, it is the only thing that is speaking to me at that given instant, and that is what I have to work with.
Anything that makes me pay attention, even for just a moment, is one more moment of consciousness, and once again a trickle of playful energy occupies my mind. It is this willingness to make something of nothing that primes my senses for whatever may follow that moment. I find that if I do not play when something calls to me then I lose my edge, soI let myself be taken in, and I play. And by doing so my innocence is capable of being prompted by the unexpected when it next shows up.
And we know that as we get older the innocent joy of discovery gets whittled away by all the other responsibilities that life throws at us, which distracts us from that state of play. So a moment of open ended curiosity, and the freedom to see in a care less way, is a gift we must not turn away from.
there you got the stones (though maybe these are not old ones) and then eye goes left to lovely spiral shadow, then to you, a self-portrait, kinship with you and all the shadow self-portraitists, Vivian Maier, too, comes to mind
Reminds me of some of your and others’ work in NYC. I think Friedlander’s shadow self portraits always link a long shadow on the street to that for me. Thanks as always for the continued work Joel. With kindest regards. Mark