Jon Axelrod
2007


    This selection of photography is about using the camera as a drawing tool.  This is sometimes done when motions of the camera scan across an image.  This records lights and shadows as a linear streaks. The movements of the spectator and the subject are in a collaborative creative endeavor.  The movements of the subject, (in some cases only a series of points of light) are recorded as perturbations within the duration lines along the photographic streak.  This is essentially a type of x-y graph, in which time and space are not limited to a strictly vertical or horizontal plane.   

 

    These photographic techniques are an attempt to record the motions of the world we cannot see, because even with film we cannot remember the past, traced back and reprojected back on itself because of the imitations of our memories and consciousness.  These images depict the world through a type of photographic memory. In which each moment of time in the past is still there, all at the same time.  Traced back to the beginning.  As a reconstruction of all moments from the beginning as a line with many fibers.  The motions within 3 dimensional space are deposited onto a two dimensional surface via digital or chemical negative reversal processes. 

 

    These photographs are intended to tap into the incredible stream of existence and to compress this time and transform its sense of duration (as in music, to movement) into a singular sound (as if all the notes of an opera were played at once) within a state of stillness.  I imagine these photographs as wave recording devices for the translation of complex multi-vector movement, into a symbol for a velocity level.  In that the speed of the scan alters the shape of the form resulting in more rigid lines under higher velocity.  Slower levels create progressively more ovoid forms. Under these limitations, the movements of individual forms can be recognized from a dense web of overlapping time morphologies, each velocity creating a new world.  Moments in time.  Focus also is also used in order to transform the character of the line, much like the pressure of a brush.  In this way the motion of the camera is so vital that the media is no longer photography, but more in tune with film, and calligraphy, drawing and painting.