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Surrender for greater good
Grace and mercy reign
20″x30″ photograph $300
I have probably taken 50,000 photos of leaves. There’s something that resonates in me with them. The cycle of life that autumn brings is full of color and full of wonder. Perhaps like Alfred Stieglitz’s clouds, as Minor White would articulate more deeply, I express and share feelings via the substance of leaves the somewhat abstract concept of Equivalence:
When a photographer presents us with what to him is an Equivalent, he is telling us in effect, “I had a feeling about something and here is my metaphor of that feeling.” The significant difference here is that what he had a feeling about was not for the subject he photographed, but for something else. He may show us a picture of a cloud, the forms of which expressively correspond to his feelings about a certain person. As he saw the clouds he was somehow reminded of the person, and probably he hopes that we will catch, in the expressive quality of the cloud forms, the same feeling that he experienced. If we do and our feelings are similar to his, he has aroused in us what was to him a known feeling. This is not exactly an easy distinction to make so maybe we can repeat. When the photographer shows us what he considers to be an Equivalent, he is showing us an expression of a feeling, but this feeling is not the feeling he had for the object that he photographed. What really happened is that he recognized an object or series of forms that, when photographed, would yield an image with specific suggestive powers that can direct the viewer into a specific and known feeling, state or place within himself. With constantly metamorphizing material such as water, or clouds or ice, or light on cellophane and similar materials, the infinity of forms and shapes, reflections and colors suggest all sorts and manners of emotions and tactile encounters and intellectual speculations that are supported by and formed by the material but which maintain an independent identity from which the photographer can choose what he wishes to express.
The power of the equivalent, so far as the expressive-creative photographer is concerned, lies in the fact that he can convey and evoke feelings about things and situations and events which for some reason or other are not or can not be photographed. The secret, the catch and the power lies in being able to use the forms and shapes of objects in front of the camera for their expressive-evocative qualities. Or to say this in another way, in practice Equivalency is the ability to use the visual world as the plastic material for the photographer’s expressive purposes. He may wish to employ the recording power of the medium, it is strong in photography, and document. Or he may wish to emphasize its transforming power, which is equally strong, and cause the subject to stand for something else too. If he uses Equivalency consciously and knowingly, aware of what he is doing, and accepts the responsibility for his images, he has as much freedom of expression as any of the arts.
(Minor White, linked above)
I, too, often use clouds to express this concept. But I’ve also found this significant expression in leaves and how I discover and isolate them in their environment. There’s an obvious theme to this image, and one I often allude to in my artwork. But I’ll do my job as an artist and let you, the viewer, discover it.