Between Feb. 1987 and the present I have been working on a series of studio constructions which have been fabricated to be photographed. The work in this series are all made with the Polaroid 20"x24" camera utilizing the black and white Polapan material. All of the prints were made in the New York Polaroid studio in 1987, 1988, and 1989.
This body of work is based on some personal observations about photographs. I am fascinated by the concept of the photograph as an impression from, or remnant of, that which it describes. To stretch a metaphor - the photograph as an object has an relationship to that which it represents something like the relationship the snake skin has to the snake that sheds it. The relationship of something dead to something living. I would like to make images which are about opacity, muteness, and distance.
The subjects in this body of
work are all signifiers of the natural, expression, and the sublime. The
specific subjects are cyclones, rocks falling into or through water, animals,
mountains, the woods, and phases of the moon. Further, all of these fabricated
scenes involve the use of expressionistic gestures (e.g. brush strokes,
splashing paint, staining, etc.). While this work may be rather self conscious,
it is not my desire to illustrate a premise. Rather, these ideas are a
basis for a subjective investigation and involvement. While these images
are about distance and loss in relation to gestural and iconographic potential,
they are equally about accident, gesture, process, and a melancholy faith.
They are about both possibilities and limits.
JOHN DIVOLA, 1989