I struggle with the tag “street photography”, and we can debate whether these images fall into that category or not. What I care about is that they are neither posed nor staged. They are honest, they capture a public moment in time, and that moment is the face of a story.Photography2014
Jack aboard Johanna Elisabeth, on her maiden voyage down the Thames.Photography2014
Century City in Los Angeles, is a large mall close to Beverly Hills that boasts many beautiful upscale stores, restaurants, movie theatres, and in true LA style, a valet service second to none. Needless to say, it is well serviced, accessible to all, with many customer amenities. And it has beautiful foliage.
These pictures, taken inside, delight me. The shapes we see are described by a mixture of adjectives: fragile, playful, strong, flat, graceful, sharp, curved… In some cases the alignment of the leaves appears to be nearly perfect, even when, upon closer inspection, we see the subtle flaws. The result is moody, dramatic and, perhaps because of their simplicity, surprisingly intriguing. Even without colour to embellish their appeal, I intuitively want to reach out and touch them – test the sharpness of the thorns, enjoy the smoothness of the ridges, and run the dry slippery air roots through my fingers.
I hope you enjoy these images as much as I do.
Fine Arts, Photography2014
The Purple Motorcycle Sessions is the name for an unusual group of studio photography sessions.
The story of the purple motorcycle was told to me by another artist, a painter. The artist was about to embark on an exploration of “vulnerability”, and Hugh, the gentleman in these pictures, was going to be the model.
The purple motorcycle was in fact real; owned by a young woman who chose to "take off on a bike she had painted purple, leaving everything behind”. While the catalyst for her quest was not revealed, the name for the sessions seemed apt.
Originally, the painter and I agreed I would document the development of the painting, and I gave some considerable thought to a structure that followed the painter’s progress and incorporated the developing relationships of the painter, photographer and model. But my concept did not survive the second session, because rather than focus on one painting, the painter started a fresh canvas. And another, and another…
In all I documented 7 sessions. And I was intrigued. The painter struggled to capture, or at least convey, vulnerability. For me, the problem was clear, and it had nothing to do with either the painter’s vision or her quite competent technical capability. Hugh could not portray vulnerability because he did not feel it, and at least in these sessions, could not conjure it up.
These images are selections from those sessions, and include a picture I took of Hugh with his own motorcycle on a separate occasion. The work stands on its own, outside the intention of the painting sessions. They depict a man who is comfortable with himself, strong, masculine, and confident. This is a man who doesn’t dream of “riding out to find freedom”, perhaps because he feels he has already has it.Photography2014
All works & text copyright Alice Gur-Arie 2014. All rights reserved. Do not reproduce partially or in whole in any format or medium without the express written consent of Alice Gur-Arie.