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My photographic practice deals with the contemplation
of the landscape. In my images however, I concentrate my attention
on the observer rather the landscape itself. In that sense,
I am more interested in the people engulfed in the activity
of seeing rather than what they are seeing. The landscape is
often not more but a faint suggestion, giving the viewer the
opportunity to imagine one.
My subject’s activity is of course mirrored in my own
activity as a photographer. In ‘Rochers-de-Naye, 2006’
for example, a man is looking at two fellow tourists at the
edge of an observation deck in the Alps. It is unclear if he
is observing them or the surrounding atmosphere – suggesting
an ambiguity that I often make use of myself while photographing.
In other works as well, the uncertain relationship between individual
and grouped subjects is further emphasized by disparate distance
to each other and to the camera.
In that sense, I tend to take up the role of a Flaneur,
suggesting a detachment to my subject further emphasized by
showing their backs – a common device used by the Romanticist
Painter Casper David Friedrich. In addition, inspired by a concept
in Japanese Art called yohaku (meaning void), it is
important to note that any empty space is treated with equal
importance. By employing such devices – including Cartier-Bresson’s
decisive moment – I wish to position my subjects in such
ways that evoke the aesthetics of a film still. The desired
effect is to create an image that at first glance seems posed,
slightly unbelievable.
I wish to further emphasize the meditative nature of my subject’s
pursuit with the choice of locations. Here, I make no difference
between a pilgrim following the ancient route to Finisterre
in Spain, and an aeroplane enthusiast on the lookout at Heathrow
Airport – both have subscribed to a ritualistic movement
that comes to its climax in a spectacle. The subjects I photograph
tend to get lost in what they are seeing, looking out into another
world, maybe also longing to be somewhere else. |
Marco Bohr
June 2007
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