This evening’s throwback triptych gathers three black-and-white snapshots that overlap only in so far as they were all recorded on November 13 — a dozen years ago, a decade ago, and one year ago — and all three images loosely document architectural glimpses of Rosslyn.
I’m intrigued with the ways in which perception shifts when we alter images (ie. transform color images into black-and-white images or photographs into illustrations or paintings) or group images together, subtly suggesting or soliciting connections.
De-coloring an image can be profoundly altering, inviting the viewer to conceive and consider anew. 
Distinct renderings of the same subject… [can catalyze] ways of seeing art, landscape, architecture, etc. Looking at the same subject from the same perspective at the same moment in time, the focus and feeling can differ widely… transforming the original… (Source: Bloom Flanked Gate)
Diverse ways of seeing incubate diverse ways of feeling, interpreting, and understanding.
Different ways of perceiving and representing the same subject… [can] provoke a different feeling… The move away from verisimilitude engages the imagination, solicits participation, and… [sometimes inspires freer interpretation] ripe with possibility. (Source: Dory Sunup)
Prospect and possibility are especially interesting to me: our unique, individual association(s) with the subject, with an image of the subject, with various dissimilar renderings of the subject, with the relationship between these dissimilar renderings,…
[Sometimes an image is] a poem unwritten… We arrive at a moment like this with our own distinct experiential lens that distills our perception, that provokes our feelings, and that underpins our aesthetics. Each of us possesses a totally unique way of seeing. Sui generis. As distinct as our fingerprints. As our irises.
[…]
There’s a comfortable ease in assuming that we’re all appreciating the same thing when we look at… [an image or a collection of images], in allowing nuance to fall outside our frame of reference. Comfortable. Easy. But potentially misleading. Rosslyn reminds me time and again that reality isn’t as comfortable or easy. She has invited me, encouraged me, supported me in seeing that no matter how universal or congruent our perceptions, our ways of seeing are subtly (and often not so subtly) dissimilar. (Source: Bovine Beauties)
Editing and curatorial redaction are part art and part sport.
A melancholy view
framed by window panes, composition divided,
mullions, muntins, and frame
imposing interiorness
upon the exterior view.
Beyond drapes and wavy glass
an atmospheric scene
suggests solitude,
railing crisp, confining
in morning’s diffuse,
almost-winter light.
Three photographs careening contemplative like a memory germinated daydream (or a dream you almost remember.)
What do you think?