Quiver

What happens when a photograph, a supposed index of the surrounding world, is made to implode on itself; interrupt itself? The fabric of the image becomes  a form of interference instead of a thing itself. The forms hover, pulsate, fluctuate; leaves and fields suddenly erupt with light. Background and foreground collapse and the viewing subject is denied their confirmation of looking and being. 

Explorations of visuality; the social space of the image here meets with optical explorations of the lens. Perception is confused with the breaking up of the social space of the landscape. There remains the need to know what is being looked at and the type of space explored and this is not altogether withheld, or for that matter, revealed. The environment is held in stasis, at a remove from a possessing and knowing gaze. Enjoyment and visual pleasure are not excluded. 

Norman Bryson implied that the photographic image was not subject to such visual disturbances and philosophical interruptions; photographic images normally confirm the existence of the viewing subject. His writings, however, have made it possible to explore photography in this way, to subvert the knowing gaze and replace it with something both more disturbing and visually satisfying.

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