Quoted By:
Now, from "Birds", continuing the interview.
>I get that. It makes me think of one of the images in the Talking to Ants series; there’s a gravestone with an angel on it that’s just out of focus, as if you’d taken a step back from focusing the camera. The feelings slipping through are so much more intense than it would have been had the image been, like you say, descriptive.
SG: I think that’s true, because you’re not distracted with detail. I think I started to learn this in 2001 to 2005 when I was working on the Hackney Wick series. It was then that I became so excited by this lack of information in a time when we were bombarded with information and clarity. Pictures were packed and I always thought we were amplifying and enhancing, but I like the idea of thinking, ‘Is it possible to deny information, but then retain a kind of weight?’ When I made the Coming Up For Air series I was very much in that frame of mind. I was deliberately overexposing and making pictures almost like you’re squinting. So I think that was a language that I was really trying to tap into and I felt that was very relevant for some reason.
"The Carrion Crow"
