Autolandscape 2012
Autolandscape 2012
gl: indeed, in many ways, these paintings are a kind of a continuation of the theme of autolandscape ii. in that sense they are another way of participating in the exhibition. they certainly reflect the concept of “time” in that they are, like the larger work, an attempt to isolate a moment. and they are also about the dynamic nature of human perception. a moment can be frozen in a moment, but it is never fixed forever. moments change and time passes.
em: it is much easier to show autolandscape ii, a big work, than the others. my interest was in time as it was perceived. i was interested in the idea that you cannot stop time. it runs on like a river. i wanted to capture a sense of this. i also wanted to show time in a more objective way than through emotion. i like to use the images of time to show that it is not only a subjective, personal time. it is also an objective time, and a historical time. i was also interested in seeing how the speed of time would affect a photograph.
em: yes, that is correct. the autolandscape i was doing was also very similar. i wanted to show time as it was perceived. i was interested in the idea that time cannot be stopped, and i wanted to capture a sense of this.
driskell went on to elaborate: “in the 1980s, her first series, autolandscapes, was not photography. it was made with a leica camera. in the 1980s, her second series, landscapes, was not photography. it was made with a large format camera. in the 1990s, her third series, landscapes, was made with a medium format camera. so she has always considered herself a painter. she has always resisted the idea of making a photographic series. she’s a painter. her images have a painterly quality. they are not straightforwardly photographs. they are not photographs at all.”
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