photograms: transcending reality? in contrast to cartier-bresson's photgraphy as capturing the "decisive moment" fuss uses the camara obscura to highlight the elapsed time needed in such photgraphy thus eschewing the notion of a photgraph as a single instance in time. looking back to antiquity fuss chooses stationary objects and, by using the camara obscura, separates his work from modern photography and mass reproduction. he concentrates on the mechanics of the magic in the picture rather than the magic itself.
fuss' work is closely aligned with that of the abstract surrealists. this can be seen partcularly in his work using non-stationary objects. in the bottom two photos fuss set snakes across a sheet of photographic paper covered in talcum powder allowing them generate patterns whilst the camara obscura worked its magic.
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