It seems to me that the original can never be constant, always formulating and changing with time. From this reading, I take my own relationship with the original- or rather the familiar, as I would like to rename it. It seems with each photograph I create, I look for something new and original to me because it is far more compelling than what I live around each day. The only time I have used an area around where I live was when it was suggested, or rather forced upon me- up until that point I would have never of considered it.
If my surroundings influences the location in which I create my work, is it okay to assume that someone’s experience of my work is in which the same? In a stretch, we are constantly looking for something new. New to the artist, and in consideration, new to the viewer. This role in change is inevitable.
What has come around lately with the rise of the 'art school' genre is the emphasis on the statement. Simply, what photography once was now deals with all matters of concern. The concept renewed into what I believe is the postmodern. What Lyotard stated, the aesthetic properties of the medium are second to the concept and ideas of desire. If it is the failure of a statement, the work itself suffers. The failure to provoke beauty in an object through a simple text could possibly describe the either or two things:
1. The inability of the past to look upon the present. Or
2. The end of post modern.
Jeorg colberg's essay of 'what is a statement' (Colberg) describes the first in the split view of the statement. But it seems with the statement it becomes a split between the past and present or possibly a split between the art school and the outside world. The treatment of work currently resides in those two places, rarely in both.
Geoff Park " Theatre Country", in 'Theatre Country : Essays on Landscape and whenua', Wellington : Victoria University Press,2006, pp.113-127
Colberg, Jeorg. "Defining One's Work." Conscientious. 18 May 2009. Jeorg Colberg. 20 May 2009
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