In earlier work during Atelier 2003, I placed the individual within the formal composition of an urban space. Now, I move in closer, seeing figures in relation to each other and their environment with admiration for the work of Edward Hopper. The close-cropped images, prevalent in his paintings, have the cinematic quality of a movie still. They invoke a sense of narrative, compelling the viewer to wonder about the lives depicted in what appear to be staged scenes, carefully conceived.
On the screen and on the street, people enact a story. They empower a viewer by reflecting on and furthering personal experiences. With an establishing shot, I crop the photograph to heighten the essential and feel at arm’s length. Close up, the film shows its dynamic structure of grain with the seduction of a projected image. With a link to the original photograph, the image presented is the segment that reeled me in at the moment in time when I stopped to look.