Dan Wesker – Photographs like memories are selective. As Susan Sontag once said, they often serve only to affirm or contradict what we already know. They are by nature, transient moments that, in their capturing become the past and thus subject to individual, post rational comprehension according to our sensibilities.
My earliest work with this camera (a Kodak Diana) was a release from the restraints I felt while completing my degree. It was a self imposed restraint on the technical expertise, a self imposed doctrine for simplicity to counteract the academic theory expected, an effort to regain the naivety and magic I once had as I began.
The work had no boundaries set. The pictures were always found, never constructed and never re-shot upon failure. It began to explain itself only after the first six years and after a further six years found it’s completion together in agreement with a gallery owner in London.
In contrast to the works poetic imagery and superficial order lies another random,chaotic side best explained in the text of Grahame Greene. A trust in instinct and an allowance for mistakes and accidental discoveries has been present from the start to the final selection and presentation. A mixture of old and new technologies stands as a metaphor for the old rediscovered in a contemporary light.
The work stands more as an analogy to the haphazard nature of memories. Each can bring their own definitions and explanations. Narratives can be found or disregarded. Like memories, interpretations, as they often do, ebb in and out of clarity.
Naomi Woddis – Dan and I grew up in the same area of North London. After many years without contact we finally found each other again and re-established our friendship. As soon as I saw Dan’s ‘Moments of Chaos and Nostalgia’ I was instantly inspired to respond in poetic form, the results of which (along with the photographs) you can see on this blog.