Writing about the works of Henry James, literary theorist Tzvetan Todrov once observed that narrative is based on the quest for an “absent cause”, this absence of that cause is what sets the machinery of the story in motion and keeps us busy and entertained.
To me what Todrov claims is in many ways applicable to the ways of reading photographic images.
The focus of my visual research lies on how this applies to snapshot photography specifically, how it compliments the subject of eroticism, and henceforth how the style of the diarist photographer found its way into fashion thus appeals to us.
Jens Stolze Editor-in-Chief of “SMagazine” an art and fashion biannual explains:
“It’s not the nudity or the part that you see straight away that makes a picture erotic, but exactly the opposite. What is left out is then left to our raw imaginations, and that is always better than the facts of real life.”
Bored by the hyper-enhanced straightforward commercial billboard shots, it is apparent that the ‘real-next-door-girl’ twirling in seemingly sweaty bed sheets’ has become growingly more appealing to us.
I as probably many other contemporaries, are possessed by the desire to decipher these images, which are composed out of different components (Subject, Object and Space), each offering clues for further speculation.
This speculation is what keeps the meaning in these images at flux and has the plays with the ability of building up erotic tension.
Similar to Wolfgang Tillmans’ way of working I am interested in the in the re-use of components to create new stories and atmospheres that draw from personal
associations and general perceived connotations.