||"The world of shadows
is the world of now.
Pure light in of itself is no different than no light:
blindness is not the inability to see light
but everything else.
Shadows of every degree are at the very heart of the real:
unburdened by the pitiful quests for perfection."
—Me, I always wanted to say that.
From Plato to Shakespeare to Carl Jung to Lamont Cranston, the simple phenomenon of shadows have continually served in the role of the metaphorical to the metaphysical, the emotive to the dimmer hues of moral deficiency. For me, the shadows of our lit world are an affirmation, the enabling component in the essential mix of creation - a prime constituent in the unfolding theater of emergence. Shadows are the threshold from which a thing must transverse in order to lay claim to the state of having become. Everything owes everything to the shadows.
My new, fledgling portfolio titled In The Shadows, is a collection of photographs where the shadow is a prime, positive component of the composition. Not bastardized by the absurd concept of negative space, or being used simply as a visual cue as to from which direction an "object" is being lit; thus relegated to the kissing-cousin of highlights, so to speak. For shadows are legitimate objects - just as real and substantial as anything else, once we subtract our prejudice for things with surfaces, things with luminosity. It's fear, fear and delusion perpetuated by a culture that doesn't want to know about the degree it avoids things that aren't clear and simple. Things that aren't "lit". Things that don't exactly match our pitiful collection of preconceptions. Most things, actually.
The shadows that inhabit each of my photographs add not just another shape to the inventory of shapes, or a counterpoint to the lighter, "lyrical" areas of the image, but, because of their inherent less-knowability, they also open up our psychological and emotional interpretations to a wider range of possibilities - that, form and style, together comprise the payload of articulated beauty.