Slide film (the positive) is rare today. There are very few places left that develop slide film, and it’s really too bad! No other photography-related medium of which I am aware has such a capacity to create the magic of presence.
In the beginning of the 20th century two Italian brothers and photographers, Anton and Arturo Bragaglia, were more interested in capturing movement rather than in capturing shapes. They aimed to create a dedicated style of photography: photodynamism. Movement was to be depicted as a continuum, as a trace of a trajectory. There are no clear lines in photodynamism to which most of us are so used in a still photograph. Instead, principal subject matter is mostly blurry, being caught in motion: in time rather than in space.
This series is my homage to their vision. Along, there is something else I wanted to accomplish with it. Photodynamism speaks to my pursuit of that which cannot be easily perceived and defined. In these photographs, I try to capture not so much the phenomenon of motion but rather the elusiveness of the tangibility of a form that becomes evident when motion (including that of a camera) becomes the principal subject in a medium that makes things stand still.
These photographs are about lingering in a moment and catching a glimpse of oddness beyond the normality of the everyday.
Metro is a fascinating place. When we are in cars that move, we remain still in the midst of motion. In this mode of willful suspension we form remarkable situations, perhaps impossible otherwise.
This is a series that I made in Toronto in 2009. Keen to emphasize the ‘second bottom’ of that which we are used to seeing, I gave the photographed places a surrealistic look: the starry skies, the mixture of night and day. These places look like they belong to a different world, they almost glow from inside, and yet they are mundane. Anyone can find them and try to see in them what I saw.