From the series In Darkness Visible, Verse 1 and Verse 2
In Darkness Visible 2005 – 2007
His luminous photographs could well be considered paintings in the sense that they are often multi-layered constructions. Yet they remain pure photography……Hughes is indeed both writing with light as the root of the word photography implies and using the camera as one of photography’s inventors, Henry Fox Talbot described it, “as the pencil of nature.”
In reaction to media led sensory anaesthetisation, and wearied by empty political rhetoric, my aim was to construct a forest built from accumulated memory and the ghosts of trees. Spending a period of two winters’ visiting public spaces in central London, this work inverts decorative Arcadian layout in an attempt to restore a sense of the natural in the cultivated, somewhat synthetic city ‘wilderness’ spaces.
Turner was moved by what he called “The weather in our souls” - he could see the universe in a rainstorm. This study of ocean currents found added gravitas through the weight of childhood familiarity.
This search for emblematic last points of light within ensuing darkness involved long periods of contemplation on the complexities of nature, from a familiar vantage point, finding company in the words of Thoreau in his retreat to the American wilderness of Walden:
“All change is a miracle to contemplate; but it is a miracle, which is taking place every instant.”
Images and text taken from his website
I love this for the atmosphere, I like that foggy look, the not being able to see the end of this forest.