It’s just a play of light. Everything. Chemical, electrical, bursts of light. So, the purple graffiti becomes a bus rider imagining where to get off next. When it was a piece of paper that a polaroid delivered in seconds, or when it was a huge wall piece that took months to be completed, the end result essentially unburdens itself of what process the light came from. The light makes use of dimensions, and dimensions flatten to places our eyes find fascinating. For years Penny Smith, the photographer that took the iconic bass smashing photo on the cover of the Clash’s London Calling made note that it was somewhat out of focus. But that lent it credibility, that made it now, and gave it history all at once. Our eyes channel out the technicalities in favor of the vigor captured within the image. We seize on what is exposed outside of order. These are the images that we learn to count with, and by, and on. They are natural.
Photos by Melissa Chadburn, Antonia Crane, Seth Fischer
Words by Hank Cherry
