Post Bacc: Week Six: Andrew Evans/Alexey Titarenko

Sorry it’s Wednesday and I’m just now doing this update. Stuff has been kind of crazy and busy lately. But I don’t want to make excuses. Just know, I’m doubling up on a post; showing what I’m looking and and rambling off some thoughts on it like I usually do on Wednesdays. 
 
Andrew Evans
Demolition Composites
2008-2012

Statement regarding photographs: In Andrew Evans’ layered compositions, razed buildings appear like phantoms, eerily seeping back into the now vacant sites of Philadelphia’s contemporary landscape. Cranes and skyhooks appear like dissonant memories, faded memories of the past grafted upon Evans’ somber black-and-white snapshots of the present. Evans’ erasure not only introduces multiple processes and layers of history into each image, but—taken at face value—the photographs envision fascinating hologram-like architectures. Depicted in shifting opacities, the structures appear simultaneously in the process of construction and decay, and the landscape reveals its very real state of constant flux. 

This reminded me of Alexey Titarenko‘s work, who “documents the collapse of the Soviet Union as seen through the lens of St. Petersburg; by shooting on black and white film and changing his camera’s shutter speed, he was able to create extraordinary long exposure photos that seem to be populated by ghosts. “In the winter of 1991-1992, one cold and gloomy day, I strolled sadly down a street which used to be packed with people, which used to be full of joyful vibrancy and dynamism,” he explains. “I saw people on the verge of insanity, in confusion: They looked like shadows, undernourished and worn out.””

 Alexey Titarenko, Untitled, from the series City of Shadows, 1992-1995

 The things I enjoyed (read also, found creepy) about these photos was how they’re very ghost-like. I’m not saying you must believe in the supernatural or whatever, but they just have a very eerie feel of decay. You can visibly see things changing, whether in a juxtaposition of past onto present, or a time-lapse of movement and busy-ness. And you can’t help but to dwell on the fact that Titarenko’s time lapses, like all photographs, are just representations of the past, and sort of ignite a feeling of somber remembrance of lingering memory. The subdued chaos brought on by the use of long exposure time or double exposure techniques is very reminiscent of memory/nostalgia’s function in the mind as well. Things collide and build on top of one another rather than function linearly, which de-rationalize and almost obliterate a structured chronological time-line for a more organic one that better reflects how time is really observed in every day life.

Anyways, I’ve been nuts about memory lately (or, you know, always. whatever). Truly, truly, batty. (Don’t say you haven’t noticed)

Best,
MP

PS-I came up with an idea to sort of combine elements from all my mini-projects to make a project/series, but we’ll talk more about that later, I’m sure.

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