Courtesy by |
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Dave McKean
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M arch
6th.
Y ou
know, I still haven't made up my mind whether photographs are essentially
deceitful: broken time, people and events shown as they can ever be again,
the moment passed the second after the shutter closed, quite sad really,
the gentle softness of film grain and reflected colours, far more
forgiving than reality, edited into neat little six by four boxes,
composed, ordered. Life's just not like that.
O r
whether they are actually a bigger truth. I realise I'm not looking at
reality, but rather through the eyes of a real person, the photographer,
I'm catching a glimpse of how they see life, and since the precious little
thing I call truth is only my version, my vision, these flimsy photos
actually multiply my understanding of the world by many times, more
potently and directly than a conversation, or the news, or maybe a
drawing. These images fool me, or persuade me, into thinking that I've
learned something by proxy. JUST like life really.
M arch
10th.
P hotos
spread out in front of me. This is a storyteller at work. The narratives
these people represent are immediately apparent. They fall off the crop
and back into their lives, the click of the camera forgotten, not
realising their ghost selves would be living quite different lives,
hanging on gallery walls, lying on unknown people's desks, collected,
scrutinized and interpeted. maybe even renamed. I love the compositions,
casual, precise; and the humour, a wall painted shadow woman recognises
her son out there in the real world, a bill sticker with his mind
elsewhere, a man unable to remember where he put his melon, pedestrian
pigeons.
A pr.
1: Appropriate.
I
called Milcho to find out if he was okay, whether his exhibition and film
"Dust" were still up and running despite the appaling game of
"I-want-to-play-with-your-toys" currently going on in Kosovo and
surrounding sandpits. 1 called because from the news we were getting in
England, I couldn't get a handle on what day-to-day life in Macedonia was
like. Milcho faxed back. His reply? Life goes on. People go to work, go to
bars, listen to the planes overhead every night. So I look at this
pictures and try to imagine it all, and despite the Cyrillic
type/graphitti and the odd head garment, it could all be right here. We
have bikes in England, and basketball nets, we have apples, and pedestrian
signage and yellow cars. This little connection makes it all so personal.
I can't switch off like the politicians seem to do, and the army, and the
tabloid newspaper editors. 1 just can't.
A pr.
2
I
rewatched Milcho's film. Before the Rain this evening. Working out where
the start of the narrative lies is as tricky as working out "who
started it" in a children's argument, whose eye for an eye was lost
first. "The circle is not complete", written on the wall in the
film, spoken at the beginning/end of the film, time cut up, re-ordered and
edited, restlessly teasing out a wider and wider understanding of events,
and ultimately we realise that no story has a start, these people had
lives before the rain, before the camera's click. Hopefully they will have
lives after.
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Dave McKean lives in Kent, England.
He has illustrated several comics
including Mr. Punch, Signal To Noise, Arkham Asylum (Batman), and
his own novel Cages. He has illustrated and co-written a children's
book. The Day I Swapped My Dad For Two Goldfish, and has also
illustrated and designed all the covers of Sandman. He has directed three
short films. The week Before. N[eon] and Whack'., and has
collaborated on other films. He has also produced over a hundred CD covers
for among others, Michael Nyman. The Rolling Stones, Skinny Puppy. Alice
Cooper, and has produced photographs, illustrations and video for Kodak,
Sony Playstation, Smirnoffand Eurostar. Dave is the author of two books of
photographs, A Small Book of Black & White Lies and Option:
Click.
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