
I do not remember the exact moment or place of this photograph. I vaguely remember and assume that I waited for the wave to crash. Or was it a boulder that fell into the sea? Either way it looks like fate now. After the fact. Every particle suspended in a moment. But it never was suspended in actual experience. In that sense, fate seems baked into memory. An inseparable part of it that fails to grasp the immense complexity of randomness. Generalized fate simulations of memory gloss over the myriad of differences under its cover in order to produce some cohesive sense of order. A gist in the mist. A referent to nature sold as an epic experience or a reflection of an aspect of consciousness that never quite happened in the actual way the photographer experienced it nor the viewer. A simulation of a hyperreal moment. A fated memory smashed by particles flying in all directions. Through the reproduction of the image, let us fold this back in on itself. Let us rework this “moment” randomly. Let us bring the mist back into the gist.
Now we are no longer in nature or under its referential control. It is released from any semblance to a fated memory or reality. It feels light and free. Nowhere in particular. More mist than gist. The random process mirrors the random moment. The iterations reveal that there wasn’t really any reference in the first place. No actual moment experienced and relived. Rather, hovering in a space without an atmosphere that Baudrillard called the hyperreal in his book, Simulations (1983): “Simulation is no longer that of a territory, a referential being or a substance. It is the generalization by models of real without origin or reality: a hyperreal.” In this sense, an angle on the illusion of Being can be held through what some people call manipulation of a photograph (or when they scoff at an image being “photoshopped”) when in fact every photograph is a manipulation to begin with (though the very word is too heavy with negative connotations as if it had some evil purpose, so “construction” perhaps fits better to a neutral sense of the process).
Wow!!
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🍄🙏🍄
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Peter, I like that you show the original image and then the various ways you have configured it.
❤ You have created amazing works of art. I think a gallery might be interested in these! Wonderful series! 🙂
Enjoy your weekend! Cheryl
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Thank you! 🙏🙏🙏
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Beautiful writing & images
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Thank you! 🍄🙏🍄
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You’re welcome!
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Love it. Nothing wrong with enhancing!
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Yes! 🍄🤪🍄
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I see in this series and text a good hint as to why you work with the (usually) symmetrical mirroring. Those works always achieve : “ Now we are no longer in nature or under its referential control. It is released from any semblance to a fated memory or reality. It feels light and free. ” By doubling reality you free us from reality and help us ignite our imagination. Am I on the right track, perhaps?
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Yes! Thank you for getting ignited!
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However it came about, that is a perfect shot. So full of motion and yet frozen, with a million possible paths forward yet to be decided. Your additional arrangements just add more magic!
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Sweet! When static motion beckons, it is impossible to resist. Thank you!
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