I have these moments off and on, when I’m working on a new series and I think to myself – “this is it, this will be my best work, this is my niche,” or something of the sort. The fact that I’ve had similar thoughts multiple times means maybe I was wrong, or maybe there’s never a perfect ah ha moment. But in any case, I thought it’d be interesting to look at the series of works where I’ve had these elated moments, and compare what they each have in common, and what they separately bring to the table.
This began as a fully black and white series, and is a much larger series than what I’ve chosen to include here. I’ve come to however like the red break lights shining through in some of these. All in all this series is a voyeuristic take on the mysterious film noir look, made with HO scale (2cm tall) figures and accessories and lit entirely by electric miniature car headlights.
Miniature Architecture Studies
These are simply dimly lit grainy close ups of tiny buildings, both HO and N scale. They also have a noir feel, and although there is an absence of people, the constant window views have a voyeuristic aesthetic.
I have played with these themes in color imagery as well, and it seems to be a shooting style I return to when taking an experimental approach. I normally plan out what I shoot, but little buildings seem to strike a different kind of inspiration.
This is a series that is still in progress. I’ve been working on it since around June, and have a good bit more planned (at least at the time of writing this). It again is black and white. This could still be considered a voyeuristic look as we are seeing an intimate portrait of a life, but it has a different feel. The camera is closer, and sees fully inside the house without the need for shadowy environments or window shots. While a different approach, and I could simply consider it a progression of my work, I more think this is simply a different way to show an intimate portrait. The woman walking along the road in the headlights glow above is simply going about her life as well, we just never really know what’s fully going on in other people’s lives, in their heads, and I’d like to think while the Headlights images allow the viewer to imagine what’s happening in the pictured figure’s life, the Monochrome images allow the viewer to relate and insert their own experiences into the life of the pictured figure.
So, desaturated narratives. Maybe that’s my niche.