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| First Three Images: West Leicester, July 2019 |
These images seem pretty typical of the kind of thing one might take on a nocturnal stagger home - after taking a little drink, and therefore convincing oneself that the subjects illuminated by the phone's flash have some sudden and profound significance. Which is exactly what they are.
They differ from the photographs I normally take, being both nocturnal, and spontaneously 'snatched' (although I'll confess to a little post-camera editing here - which somewhat redresses the latter quality). They were also taken on my phone - which is a tool I have often tended to under-utilise for image capture. That does seem to be changing slightly though, now that I've admitted a little more social media into my life - and become an occasional exponent of Instagram. I don't plan to start photographing my dinner anytime soon, and still remain a bit reluctant to put my own image online, unless strictly necessary. However, aside from their standard publicity functions, there is a certain appeal to the idea of using such platforms as a kind of spontaneous visual diary - I guess. Stuff like this seems to characterise the kind of immediacy that might suggest.
Should you feel so inclined - you can find me on there by simply searching for: hughmarwood.
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| Christopher Wool, 'East Broadway Breakdown', C-Print, 1995-95 |
It also occurs to me that there's a certain correspondence between my shots here, and some of those in Christopher Wool's 'East Broadway Breakdown' suite, from the mid 1990s. Maybe that's no real coincidence - as I was researching Wool's work while writing my last post. Either way, I am always drawn to the deliberately slip-shod and profoundly quotidian nature of his photography. Now, if I could just break myself of my Photoshop habit...
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| Christopher Wool, 'East Broadway Breakdown', C-Print, 1994-95 |
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