Bodie is a preserved mining town and state park in the eastern Sierra part of California. I have spent most of a
This project though has some interesting roots in my artistic journey as it relates specifically to Bodie.
First, I am not a big fan of falling down places where people used to live. Mostly this is because I had seen tons of ghost towns and dilapidated log cabins in Colorado in my younger years. People were here. They left. Buildings are falling down. Time to move on. Dwelling on the past that was specifically transitory is for me...transitory.
Second, I had been to Bodie before and was not terribly inspired. Add to that the First above.
However in the interim between these two field sessions, I had learned that there is a creative opportunity anywhere one goes to photograph. It just requires focusing on making that time into a project. Picking the subject for that project is where the initial creativity comes into the overall process of producing art from photography.
I came back to Bodie after having understood the importance of projects, particularly when capturing images for later processing.
There were two projects that came to mind as I began wandering around Bodie.
One was to create a collection of images on the various textures on the outside of some of the buildings. Later in the studio I would combine these in some way.
The other was to capture images of windows in the buildings. However not just to just capture the window itself, but also focus the camera from the same position on the reflection or perhaps something on the inside of the window. Later in the studioI would also combine these. (This project is at present latent, but may see the light of day down the road.)
This exercise of making a project out of a photography location came in handy, as I now had two collections of images which would provide possibilities in the studio.
The Bodie Textures project came from this time capturing the variety of textures on the outside of the buildings and then combining three of them into a single image.
As I have mentioned in a previous post on the project Mono Lake grasses, each image was individually processed and then combined with (in this case) two others. Then the three-image combination was processed further.
The greater amount of inspiration came later in the studio, when I realized the vast potential from combining these textures and colors.
There is a bit of a Picasso-esque quality to some of the images, as well as an abstract quality that defies identifying the source and original location of the images.