A narrow pass, that leads where? Like a street and instead of mountains, the threatening bodies and wheels of the shiny cars. Metal mountains. Towards “the end”, a small “garden”, in a way a closed in itself castle. Can be read as a metaphor, but I like it being not too specific, a little vague. I shall venture though a “finding the way through technology to an uncertain future”, but this is just to play with it. Innovative point of view when shooting. Suddenly I realize that it’s not always a good idea to try to tell what an image may possibly show when treated as a metaphor. But then, the sin has been already commited.
I think it’s important to consider all images as metaphor. When you do this, with some images you find there’s nowhere to go. You can say something superficial about it, but no more. With other images, the longer you look, the more you find. The former kind of image has value if what you want is to communicate a single idea, with nothing to distract from it. Much simple advertising is conducted this way. The latter kind of image has value if you want to convey more abstract ideas, and to trigger memories and associations in the mind of the viewer. These are a source of pleasure of course, but they also facilitate a more meaningful connection between the artist and the viewer. This is something I strive to accomplish, and sometimes I am successful.
A narrow pass, that leads where? Like a street and instead of mountains, the threatening bodies and wheels of the shiny cars. Metal mountains. Towards “the end”, a small “garden”, in a way a closed in itself castle. Can be read as a metaphor, but I like it being not too specific, a little vague. I shall venture though a “finding the way through technology to an uncertain future”, but this is just to play with it. Innovative point of view when shooting. Suddenly I realize that it’s not always a good idea to try to tell what an image may possibly show when treated as a metaphor. But then, the sin has been already commited.
I think it’s important to consider all images as metaphor. When you do this, with some images you find there’s nowhere to go. You can say something superficial about it, but no more. With other images, the longer you look, the more you find. The former kind of image has value if what you want is to communicate a single idea, with nothing to distract from it. Much simple advertising is conducted this way. The latter kind of image has value if you want to convey more abstract ideas, and to trigger memories and associations in the mind of the viewer. These are a source of pleasure of course, but they also facilitate a more meaningful connection between the artist and the viewer. This is something I strive to accomplish, and sometimes I am successful.