Car photography especially of early fifties vehicles, for me, derives from my learning to steer a car and then to drive one sitting next to a favourite, older cousin in his copper brown and white 1951 Mercury four-door. Strong-arm steering meant that effort was needed to guide the Mercury down dusty gravel roads. These drives usually followed Sunday get-togethers of my family from Edmonton with his in Rimbey, Alberta. The event, recalled to memory is that of a late spring or early summer drive, following an evening meal and Walt Disney. I might have been nine or ten years old when I first took the wheel for some good, adventure-filled times before saying our goodbyes, parting company and returning home in an hour-long drive to Edmonton. Always, my aunt, uncle and three cousins would wave to us from their porch as we left. Our families might see each other again in a month or two. Those were good times.
My starting point for this photograph is curious. I am unable to determine the make of this early fifties two-door sedan. Given that this Blue Hills’ farm and its woods have seemingly been left as if in the middle of things, its abandonment indicates something unfinished in not just one life but in the lives of a few. Here, what is sacred is often about the conception of ‘what-has-happened-here.’ It associates to memory that will not fade and cannot be left. With this image, just as in no-trace camping the art is to pass through an area without disturbing it, this photograph presents the necessity of capturing something seemingly sacred without disturbance – reverence and respect are needed.
Listening to the Dave Matthews Band from the album Stand Up and the childhood/teen reminiscences of Old Dirt Hill, a song that recalls my go-cart, our garage and back alley … and friends at Easter break in Edmonton in grade 5 – 1972 … what a week (and to be grounded part-way through).
Quote to Inspire – “A photograph is a secret about a secret. The more it tells you the less you know.” —Diane Arbus
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I make photographs and poems to please myself (and share them to please you).
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L'occhio ritaglia il soggetto, e l'apparecchio deve solo fare il suo lavoro, che consiste nell'imprimere sulla pellicola la decisione dell'occhio
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