Diptychs (and triptychs). Thinking about photos in groups: twos, threes, and fours, maybe more (the grids of photos by the Bernd & Hilla Becher, e.g.). How does pairing photos change them? How does looking for pairs alter the process of photographing? I don’t know, but I like to think about it.
It was a miserable day. Cold and windy, and then cold, windy, and snowy. Stores closed early because the “winter storm warning.” Most people wisely chose to stay home, warm and dry. A perfect day, it seemed to me, to go for a hike. Thick leaden clouds and blowing snow created a sort of post-apocalyptic wasteland of dead trees and empty spaces. There was no palette — everything shaded from black to gray. Nearly every scene was hauntingly beautiful.
On days like this I am drawn by the sirens’ songs and venture out into the howling winds. The discomfort and physical effort compensated for by the chance to be alone and the opportunity to photograph scenes few other people will experience.
A cold wind whistled through the branches. The winter wind is different. Not simply frigid, though it is surely that, even the slightest breeze produces a haunting, lonely sound. I stand at the edge of a meadow listening to an arboreal death rattle, frozen branches creaking as dry air wheezes through a bronchial network of branches. The winter wind is bitter and unforgiving. But to confront that wind, to feel the biting cold on your exposed skin, to shiver as it steals inside your collar, is to experience life. The cold is a reminder that you are alive.
