Quoted By:
>I was looking through your work and thinking that what you’ve made most recently is sort of these collections and gatherings of things, like your Off Ground project where you went around and picked up the bricks from the London riots, bringing them back then into the studio. Even though those images were so simple they had gone through such a history of extraction and touch.
SG: Maybe part of it is just aiding the chosen subject. In the case of those bricks, you’re sort of helping them speak for themselves but in order to do so I’ve pulled them out of where they were found. I like this idea of, as the author, taking steps backwards to allow the subject to takes step forwards. I really like this thought, partly because photography is so much about control, and I like these slippages of control and a conscious stepping back. It’s strange that something does happen, and I think even in the case of the series Talking to Ants, where I’m adding things to the camera, even though there’s a distortion or lack of information, even a lack of clarity, there is something that manages to get through that filter that I’ve put in the way. For some reason it feels closer to what often a very straight, descriptive picture can emit. I just find it amazing that certain things can creep through when you deny information or clarity or sharpness. It’s weird what does manage to get through and sometimes it’s more than ample.
"Love Me Tender - Elvis Presley"
