Friday, October 21, 2011

back of a street sign

Walking round the Silver Lake reservoir (or should that be the Silver Lake silver lake?) is always a great source of baffling street art.   Here we have what looks to be a torn and peeling depiction of a multi-racial junior school - though the kids look far from happy - and - and what?   An androgynous tiny plaid shirted figure sitting on a mask.   Can one try and interpret this (except within traditions of surrealism and collage)?  Should one see the images in relation to one another, or as accidentally juxtaposed and separate?   How might one factor in the clean and shiny car, which doesn't seem to belong to the same gritty world that these stuck-on subjects do?   One thing that I didn't write about yesterday was the sense of touch that goes along with photographs (think about how they become dog-eared, or creased, or simply about the texture of a print).  Here we can consider two types of touch: the textures of rough paper edges and of slightly burred street sign and of polished black car, and then the way in which, these days, touch becomes a component of looking at the picture or its details.   Pull your fingers across the computer's trackpad, or across an iPhone or iPad screen, and, as well as leaving greasy little fingermarks, you can make the picture go much larger, or shrink the plaid-shirted person, at will.

No comments:

Post a Comment