At a first glimpse Ray Metzker‘s composites may look like repetitions of the same shot, assembled like an action in “Arte Programmata”. A further look reveals grids of several frames arranged in rows or overlapping, of similar exposures or with different details of the same scene.
The meaning of photography as a medium to catch a moment in time is questioned by the act of sequencing. Here, time is fragmented and recomposed, in a complexity which does not always imply a coherent temporal continuum.
As the author stated:
“Where photography has been primarily a process of selection and extraction, I wish to investigate the possibilities of synthesis. I began thinking of the entire roll as one negative… What I am talking about is complexity. When you approach one of the large composites, you see it more as an abstract design, and when you come in closer, you see a wealth of everyday information. There is no particular point of entry or procedure to the seeing; it is a multiplicity of elements operating in an aleatory manner.”
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