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My approach to these botanical still lifes is pared down now to the selection and placing of a very few elements - a surface, a vase, a colour and maybe a texture, dramatised or avoided. Most important is the hope of finding more than I put in. This 'more' involves places where shadow will breed, for example, and be indulged and encouraged to feed and grow, because the non-visible counts infinitely in a world one has made to be eyable. The processes… of compound digital photography that I use keep the mind active counting, planning, avoiding mistakes, but - the denouement these practices and ceremonies of keeping busy or fragmenting-to-make-whole lead on to is not of guaranteed relevance to what I think I'm fishing for in this dark process. In this double exposed doubly aleatory image, with its echoes of other, more handmade print-making techniques, I feel I got the denouement on stage and visible:- either 'for once', or once and for all.
Peter Woodburn is an artist-photographer carving his niche both via felt connection with unique but everyday landscapes and through the digital / computational approaches he uses to convey this. Loving the interplay between fact and feeling, abstraction and reference, he also enjoys the resonances between his chosen medium and painting. His approach, based on documenting the details of localities, involves being present in and open to the place and its processes before trying to capture images of these. Similar principles also inform his interior still lifes , based on the later stages of existence of flowers and the sense of lived lives they create around them. He approaches hidden worlds of natural detail with the spontaneity of emotions which are already present in sight itself. He communicates via 'documentary expressionism': fixing the essence of place and natural presence, whose spontaneous power to evoke and to move he celebrates.
Bouquets, present and remembered before a red door
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Bouquets, present and remembered before a red door
PETER WOODBURN
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