wilson hurst

latent image intensification

E xploring hidden happenings at the State Fair reveals dimensions beyond the ordinary. Referencing an essential conceptual art principle, photography has the capacity to render an event over time rather than depicting a specific object. As the evening progresses, radiation conditions rapidly change necessitating an active awareness. Recognizing a potential color field of negotiation, perception proceeds to a conclusion through reason and intuition.

“Falling sounds explode across myriad conscience of tomorrow's mind
You feel yourself rising slowly and yet falling down upon shattered dreams
Crystal sights are shattered and distorted by reality's truth” - Ian Bruce-Douglas

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D ue to a multiplicity of variables, it takes many exposures to get good color smears. Of course, some venues are more conducive than others, with the State Fair midway high on the list of propitious opportunities. There always remains a degree of chance and uncertainty associated with the outcome, a component characteristic providing much appeal. Rather than adopting this modality for an extended time, I tend to shift around, changing optics and capture approach while moving through space and time. Although this is not necessarily the most efficient procedure, it does extend inherent prospects presented as conditions evolve. Process informs product.

“'In the long run, we shape our lives, and we shape ourselves. The process never ends until we die. And the choices we make are ultimately our own responsibility.” - Eleanor Roosevelt

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E erie activity on the midway, what will they think of next? Collecting money from queued up parents each anxious to place their young child into a large ball bobbing around in a small wading pool. Of course, it is all supervised, especially the time period of encasement.

“'You can lead a horse to water, but if you can get him to lay down on his back and float in it, then you have something.” - Joe E. Brown

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T he State Fair is a perfect venue to explore telephoto motion blur technique. The chaotic color and turmoil compressed and magnified from a distance is swiftly abstracted. Experiencing the immediate environment in such a way becomes a unique individual dance. A freedom of vision and willingness to accept the unpredictable contributes to the activity. Moving through the crowd, I have a sense of being alone, an observer not part of the behavior pattern. Yet I blend in, often seemingly invisible to the throng intent on pursuing their carnival purpose. On a very few isolated occasions I am asked, “Why are you taking pictures?” My response is “I am making fine art,” an answer which satisfies no one.

“'Pure experience' is the name I gave to the immediate flux of life which furnishes the material to our later reflection with its conceptual categories.” - William James

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B oth large-scale and small-scale confusion presented at the state fair in a chaotic arrangement offers a plethora of spurious alternatives. Over-loaded sensations create message indeterminacy, a rainbow of flavors visually differentiated by color but essentially equivalent in character. On a hot day, a flavored frozen drink might be welcome, but availability must be confidently detected from the mayhem. When everything is shouted, nothing is heard.

“So my acting technique, my personal acting technique is working with color, imagining color, then finding the emotional vibrational mood connected to the color. See, if you look through my scripts, you'll see that all my lines have a special color, so I don't memorize language, I memorize color. This way I can go through red, yellow, green, blue. And I have a full palette of emotions.” - Cosmo Kramer

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I ndependent behavior consequence integrates into the specific circumstance of place and time. The shadowself is engaged in a process of continuous identity representation in dialogic discourse verification with existence. A body projection framed and identified as another entity with yet the same individuality. I am because I block energy thus affecting the nature of matter. Foghorn Leghorn's culinary cousin provides a felicitous foil.

“I-I-I know what you're gonna say son. When two halves is gone there's nuthin' left - and you're right. It's a little ol' worm who wasn't there. Two nuthins is nuthin'. That's mathematics son. You can argue with me but you can't argue with figures. Two half nuthins is a whole nuthin'.” - Foghorn Leghorn

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A nother year at the State Fair, a temporary environment suspending rationality, complete with chintzy entertainment enjoyable by virtual of its own silliness. Partly designed as a traveling carnival, such an event can only attract an audience by infrequent contact. Offering a chaotic collection of small-scale simultaneous spectacles, the composite revelry becomes something more than the sum of its parts. It is difficult to determine the main attraction, other than the provisional escape from the ordinary.

“It was because of my great interest in the West, and my belief that its development would be assisted by the interest I could awaken in others, that I decided to bring the West to the East through the medium of the Wild West Show. ” - Buffalo Bill

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A esthetic equilibrium achieved by the use of opponent principles. Here is another “Found Mondrian,” by definition emphasizing a vocabulary that describes harmonious balance between verticals and horizontals. Much architectural design remains a physical embodiment of this style made famous by the Dutch artistic movement De Stijl. For some innate reason, I have an enduring affinity for constructions using such an abstract geometrical language. Directional propositions, two-dimensional space must stretch top to bottom and left to right.

“In our time there are many artists who do something because it is new; they see their value and their justification in this newness. They are deceiving themselves; novelty is seldom the essential. This has to do with one thing only; making a subject better from its intrinsic nature.” - Henri de Toulouse-Lautrec

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