Deep Grey
Photography, Spring 2017
Inspired by Japanese photographer, Hiroshi Sugimoto’s Seascape series, this art photography project focuses on the poetry of condensing the volume of time in a single layer of photography. The key is that there can’t be any background in the frame. To form such a homogenous yet delusional effect, everything has to be constantly moving, flowing and changing.
It starts from reproducing Sugimoto and derives to more subjects of movement. Water and sky naturally arouse the presence of time. Therefore, when the texture of waves and clouds is blurred, people immediately feel the thickness of the photograph. Interestingly, although water and sky may seem neutral as objects, they have emotions and moods, at day and night, clear and rainy days.
The second series utilize the interior of Cloud Gate (sculpture in Chicago by British artist Sir Anish Kapoor) as a backdrop, which is already homogenized, abstract enough. In this setting, the reflection of flow becomes brush, adding layers to the frame.
The third series seek to break the formal structure in the previous two. I choose grass as the subject and focus on their subtle movements in the wind. Instead of having a geometric framework for different greys, velocity of movement, amplitude of swing, bouncing of light compose the photograph. Through the texture of grey, can you feel the temperature, the wind speed, and how many birds have passed during that time?
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