|Each of the 24 CH Missives are stamped and numbered.|
The objective behind the series of Swiss (CH) Missives I intended to create while in Geneva was to mash together photographs taken on my previous trip with images taken on this recent trip. As a gesture, these pieces (created as another reward for Geneve Journal supporters) is the most immediately emblematic of the compare/contrast between to moments which is the root of this entire endeavor. A tangible interaction between the sensibilities of then and now, manipulated by the current me; that's what these things are. I like the fact that in and of themselves, these photos are the most artifacts that most directly reveal the character and curiosities of the person on each of these trips, and that when jammed together might offer the most naked evidence of the shifts in time and mind.
In creating these postcards over the years, I tend to move quickly and intuitively over the pile of material; a breadth of photos and collage material from which to choose. I skirt points of resistance by digging into the pile of material and moving on to other compositions, coming back to resolve the unresolved when resolution is revealed to me through the distance covered in the sequence of subsequant compositions.
Shuffling through the more focused material I granted myself in Geneva, I found that photos from '92 were more naturally paired with other photos of that time, and the same was true of the photos taken in '12. My intention - my assumption - was that I'd simply ride over the imagery and make my mashups. Boom boom boom. I hadn't anticipated that I'd meet resistance from the polarity of the character and vision represented in each group. In a minor way this, resistance antagonized the premise of my trip, my thesis which assumed a happy pairing of two moments distanced by 20 years. I wasn't trying to get the two eras to simply just get along, but to work together. sitting at the table in the initial stages of looking at the material, I was frustrated by the insubordination of the evidence on hand. They were neither readily working or playing together nicely.
I couldn't just ignore the resistance I faced in the material. Without the intermingling of the two groups of images, the underlying principle of these cards would be made null. For once, I had to force the situation, and yet, I couldn't deny the the emergent polarity of the material. In the end, some of the postcards, there are 24 of them in total, are predominantly representative of one era, but I made sure to insert at least a touch of the other in the composition.
The results? I think they are, together, are artifacts that pretty successfully embody the history of their making, although if I hadn't toed the line of my own predetermined strictures, I would have made different aesthetic choices. That said, they are still well marked by my visual tendency.