A THOUSAND WORDS - Alex Waterhouse-Hayward's blog on pictures, plants, politics and whatever else is on his mind.




 

Effigie Numinum
Saturday, February 28, 2015



All photographs are scanned Fuji Instant film prints and or their negative peels.


About 15 years ago I met up with Argentine painters Nora Patrich and her then husband Juan Manuel Sánchez. They were living in Vancouver and soon after meeting them at tango classes we became friends. They lived a bohemian life of staying up until all hours of the night. I could call them up at any time and I was immediately asked to come over to sip a mate and talk about art. By the year 2000 we had exchanged our ideas of what it was like back in our Buenos Aires that we decided to embark on the subject of Argentine nostalgia. It is amazing how stupid I was that it was only then that I understood that to have nostalgia for a place you have to be elsewhere!

I found a beautiful woman called Linda Lorenzo and we used her to illustrate all our nostalgias (always rosy when you think about it). For a year Linda was our muse. I have never produced so many photographs or been so inspired. But this has changed.

Nora Patrich and Juan Manuel Sánchez separated and went back to Buenos Aires on separate airplanes. I miss them lots but had to fend for myself and find muses to inspire me to keep taking photographs. Since 2000 I have found a few good ones. In none of my dealings with them did I ever feel I was in a rut. I tried different approaches, different lighting and film combinations. In the last three years I have been also shooting with a digital camera, a Fuji X-E1.

My principal artistic interest in photography is the portrait. If I see a wonderful landscape, I buy the postcard. Ancillary to my portrait work is my love of the female form. Ancillary to that is my love in the pursuit of the erotic image.



I have noticed that with age (my aging) my ideas have become more subtle. They are more fun. I like the challenge of taking pictures of women that I am no longer interested in because of that gulf of extreme age difference. This means that all my conceptual exchanges with the neurons of my brain are above the waist and (if you believe that the heart is also engaged in that area) above the neck. I arrive at what I do by thinking about it and relying (paradoxical as this might seem) on the feel of experience.

From my vantage point on a balcony of the Chan on an Early Music Vancouver production of Bach’s Christmas Oratorio on December 21 I saw on stage some lips of extreme redness amongst as sea of musicians dressed in black. The perfectly red lips were property of West Virginian-born, recently to Seattle via Oberlin, baroque cellist Juliana Soltis. During the interval I watched her on the wings. She was wearing a remarkable black taffeta dress and sported an extremely short haircut.

Her dress was very long and hid her shoes. It seems one of the violinists did see them and had warned me to watch out for them. The violinist told me, “Her shoes somehow match the exquisite blue cello cover.” Subsequently I have found out that the exquisite blue cello case was custom made in Ukraine to fit what is a smaller cello in the baroque style without an endpin.

The long story made short is that Soltis  drove up from Seattle and posed for me during two days a week back.

During the two-day session Soltis kept telling me, “You don’t tell me how to look at your camera.” My reply was simply, “I will if I have to.”



Since 2000, before and after, I have been lucky to meet up with interesting subjects who in most cases were naturals and my instructions to them during photographic sessions were minimal.

The worst cases are the old-style professional models who have been photographed many times and do model poses or purse their lips and look at you in an overtly sexual manner. I prefer those who have not posed before and who many not have any predisposition for certain poses.

Then there are others in which communication is wordless

Soltis was like that. She would sit and the pose seemed to be right, or almost right.

Best of all was her enthusiasm and the alertness (intelligence) that I have for some time now associated with musicians.

I took quite a few photographs with both film cameras and my digital Fuji X-E1. The sampling you see here are the one of a kind results taken with either Fuji’s 100 ISO colour instant film or with the 3200 ISO b+w film. It is amazing that most if not all were just about perfect.

There is a streak of sensuality that runs through them. The 40-year gulf between us on the one hand a safety valve but it is this very safety valve that may promise more interesting photographs to come.




























     

Previous Posts
Captain Kirk, Spock & Yielding Flesh

A Cello, Fishnets & A Bundt Pan

The Fox Cabaret & Wine (not beer) Is Anconite

Alex At The Fotoautomaton At The Fox Cabaret Feb ...

Blurs At Arts Umbrella Q7 - February 22 2015

Untitled - Choreography: Lesley Telford - Arts Umb...

Randy Rampage - 55 - February 21 2015

Talking Stick Festival - And The Tree Of Life

Why Händel?

Grant Strate - That Elegant Man



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4/24/16 - 5/1/16

5/1/16 - 5/8/16

5/8/16 - 5/15/16

5/15/16 - 5/22/16

5/22/16 - 5/29/16

5/29/16 - 6/5/16

6/5/16 - 6/12/16

6/12/16 - 6/19/16

6/19/16 - 6/26/16

6/26/16 - 7/3/16

7/3/16 - 7/10/16

7/10/16 - 7/17/16

7/17/16 - 7/24/16

7/24/16 - 7/31/16

7/31/16 - 8/7/16

8/7/16 - 8/14/16

8/14/16 - 8/21/16

8/21/16 - 8/28/16

8/28/16 - 9/4/16

9/4/16 - 9/11/16

9/11/16 - 9/18/16

9/18/16 - 9/25/16

9/25/16 - 10/2/16

10/2/16 - 10/9/16

10/9/16 - 10/16/16

10/16/16 - 10/23/16

10/23/16 - 10/30/16

10/30/16 - 11/6/16

11/6/16 - 11/13/16

11/13/16 - 11/20/16

11/20/16 - 11/27/16

11/27/16 - 12/4/16

12/4/16 - 12/11/16

12/11/16 - 12/18/16

12/18/16 - 12/25/16

12/25/16 - 1/1/17

1/1/17 - 1/8/17

1/8/17 - 1/15/17

1/15/17 - 1/22/17

1/22/17 - 1/29/17

1/29/17 - 2/5/17

2/5/17 - 2/12/17

2/12/17 - 2/19/17

2/19/17 - 2/26/17

2/26/17 - 3/5/17

3/5/17 - 3/12/17