WHAT I CHOSE TO FOCUS ON FOR THIS PHOTOGRAPHIC ARCHIVE
As I began taking photographs for the project that would become Rubble Without Applause, some parameters began to emerge based on what I observed and experienced. I found myself most interested in the stone faces that local residents may pass by every day and never notice. I quickly lost interest in anything found on churches, businesses or institutions of any kind, despite having included a few sculptures found on them in my original video. For me, the neighborhoods in NYC are mostly defined by their side streets, the concentrated residential areas found off the more heavily trafficked avenues. I also felt especially drawn to those carvings that had recognizably human features, and began passing over depictions of animals and carvings of non-human beasts or overtly fantastical creatures. Somehow, these two aspects of my focus emerged naturally and without deliberation, as if they were just meant to be.
Another project direction grew out of observation, which was that the carvings in the area of the building entrance and located on the exterior of the lower floors tended to be unique, unlike many of the sculptures that would sometimes be found on higher floors or near the roof. In many cases, it was clear the faces higher up had come from molds and were often duplicates. Consequently, I found them less interesting. To me, they seem comparatively soulless, clones that lack the vitality of the sculptures created by stone carvers who were left to their own skill and judgement. There are exceptions of course, and some of these pre-molded sculptures can age in fascinating ways, a new sculpture emerging from the damage it endured, but in general I sought to avoid them. They also had the disadvantage of not truly being in plain sight, in that pedestrians must often strain to see them, or rely on telephoto lenses that result in limited, awkward and unflattering low angles of view. I much preferred to focus on sculptures that anyone could spot as they walked down a sidewalk, and then stop and appreciate. |
There were many aspects of these sculptures that I hoped to capture - their beauty, their “hidden in plain sight” qualities, the unpredictable ways they had aged over the years, the way some faces seem to reflect or blend in to their surroundings, some happily, while others seem to stand in stark relief, appearing to react with revulsion, disappointment or horror to what lay around them. Sometimes I wanted to show how a sculpted face lay in the context of its surroundings, other times I approached it as though I was taking a portrait of a person, occasionally even centering my subject in the artless tradition of snapshots people take of their friends or relatives. In some cases where I found it difficult to get the shot I wanted, due to poor light, obstructions or if the proximity of purely distracting elements limited my choice of framing, I would opt for a more documentary style approach, seeking mostly to get a record of that sculpture for my archive and less concerned with the aesthetics. Once in a while, getting a good photograph of a particular stone face proved to be impossible due to it having been painted and repainted several times, to the point where its features were drowned out by the cosmetic layers slathered on top of it over the years.
Although an attitude that champions preservation would seem to be the most natural fit for a project such as this, I eventually came to feel that this wouldn’t be entirely appropriate for me. One of the things that undoubtedly drew me to this project in the first place was the sometimes grotesque aging of various sculptures, the way they had changed over time - the added personality created by exposure to time and the elements. Had these sculptures been new, untouched or immaculately preserved, I never would have wanted to photograph them. So, rather than seek to promote the preservation of these sculptures, it was primarily my intention to share an appreciation for those that remain. |
Above is an example of the types of sculptures I would typically avoid photographing. Their identical appearance is due to them having been made from molds, instead of being carved individually. I cannot help but feel that these kind of sculptures represent a form of artistic neutering, in comparison to the work made by stone carvers “from their head and through their hands.”
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The faces shown above can only hope to achieve individual character through aging, through the unique damage that alters their appearance. I concede that actively wishing for the mutilation of this sculpture is a bit extreme, so let’s just say I welcome the personality it can add.
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The sculpture on the left in the photo above is starting to develop some personality of its own.
In time, it may look nothing like its twin.
In time, it may look nothing like its twin.
Photographs and Content by Alan Bazin © 2021