Scenes from a marriage
This is not about a marriage of mine; nor is it, as in the title of Ingmar Bergman’s television series of the above name, any particular marriage, though inevitably partakes of both; mainly it is a way of bracketing some of my photographs taken over forty years. So this category comprises pictures which create for me an unexplored sense which lies behind the meaning of the word marriage. Here is the phtograph which recently gave rise to the idea. It was taken in the late sixties. My then wife was an accomplished dressmaker.
Form
This next picture represents the period immediately following a row when it feels as though something has been irrevocably destroyed. Objects with which one lived in harmony have become estranged and the dread is that this has come about through one’s own actions. For what is spoiled to become vital again would seem to require a miracle. In such a wasteland one either defends one’s corner or prays for a resurrection. It is the latter position that Melanie Klein recognizes as a depressive anxiety. Whether my slanting image does convey the sense of disenchanted objects, I am unsure; I may simply be reading into it. But I am conscious of not wishing to resort to a pathetic fallacy and use conventional symbols of a wasteland. My photographs of the Gorbals presents a wasteland but within which there rises a vital spark.
Spoil, 1995
The next picture expresses a sense of prevention. In a recent discussion here is how the state of ennui was described to me:
“Ennui is a rich word, and describes a way of seeing beyond that of most people coupled with a disregard for the humdrum and a fascination with the miniscule or un-noticed scenes. Ennui is a state of boredom but different. A glazedness or malaise brought about by lack of stimulation and leading to a disdain or weariness for all things.”
Compare this with the quote from Andrei Platonov’s The Foundation Pit in my First Post
The next picture expresses that part of the self that is untouched by relationship and remains an exile within marriage. It symbolises the thing in one that, despite being known, is of its nature solitary and remains isolated throughout. Then the other is not experienced as being there and is only there should they choose to stay.
Mystique of the cloakroom
And this one speaks for itself or, as Rab Noakes (1972) put it:
Drunk again!
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About
July 2006
Through a glass darkly is my metaphoric allusion to looking through the lens of a camera, awaiting the psychological moment (in the dark). It is also the title of an Ingmar Bergman film I saw a long time ago, and because of one scene in that film, I always remember it: a view of a northern lake in the midnight sun hypnotises the camera. I hold that scene within like a communication with an unknown self. Perhaps had I something of the imaginative grasp of Robert Musil, there’d be no need to take photographs. Here is part of a sentence from his strory The Perfecting of Love: “now and then it happens that one sees something in the distance, an unfamiliar thing and walks towards it, and at a certain point it enters into the circle of one’s own life; but the place where one was before is now strangely empty.”
To the woods
It is, of course, a phrase, from 1 Corinthians 13, followed there by another phrase: “face to face” as a now-and-then, a before-and-after. So, as usual, quite a process is constellated in the space between. This web-space, to an extent represents, a space between. Images are one of the things that tag to such happenings, words also, but ineffably, in one way or another, meaning eludes one.
And now a picture to hold that space.
I think my search for meaning in empty spaces may partly derive from growing up in a culture of mystification. Walker Percy has an interesting slant on this. It is pivotal to his novel The Moviegoer? I’ll have more to say about Binx Bolling sometime. By the way, I am Lyon, hence Leo. I am called that after my father who died when I was five. The woman in my imagination is Lyones after a character in Arthurian legend. Anyway what interests me is the meaning that momentarily emerges from the subliminal choices that register the activity of imagination – in an apparition, or a form of words, perhaps in the threatening surprises of a psychoanalysis – when I sense myself prompted towards a reality other than what I was thinking was real, the way of being I was accustomed to. It seems like a moment of acceptance of aloneness, not such that instills despair, but rather suggests a precarious balance above an abyss of unknowing, an insupportable freedom. In the next breath perhaps, he says, Musil, that is, ” a moment always comes that is like an abyss, and, left behind at its brink, there stands a sick person whom one does not know and who is gradually fading from sight.”
The next picture is from the spring of 1986 – a rusty incinerator aboard the crane barge Thor in the Fortes Field 140 miles offshore in the North Sea.
21 August 2006
And now I’m picking up the thread again. And time has passed. And a phrase has come to mind: an image darkly forming is the phrase. It is the title of a book, and a Jungian might well take it as a metaphor for individuation. Jung thought of the progress of the soul as a night sea journey; he talked of Jonah and the whale. It is not a metaphor, however, when used another way, as a rather nice way of referring to the photograph: an image forming in the dark, first in the split-second piercing of the dark inside the camera, then developing in the dark of a tank and at last in the obscure light of the darkroom, and before all that, conceived in the dark processes of the mind’s eye. I want to use it in another sense to mark a trend in my interest in picture taking. I mean an image formed of the dark. Brassai’s Paris by night, has the glossy magic of the sensuous and romantic dark.
Prostitute at angle of Rue de la Reynie and Rue Quincampoix From “Paris by Night” 1933
In contrast, there is an image by a young Israeli photographer that cast a spell on me very different from that of the brilliance of the dark of Gyula Halasz Brassai. Sensuous, yes, but there is nothing sensual or romantic in Calanit Schachner’s picture. It takes me back to being a boy sitting in the darkened local cinema and being confronted by the unthinkable, moving black and white pictures of the relief of Belsen on the Gaumont British News. That this had been going on at the same time as my everyday life as a schoolboy! What I couldn’t get out of my head was the footage of the interior of the crematorium. And people can deny that these terrible things ever happened!
Space 5 (from Attic)
It is the image darkly forming that I am drawn to if somehow to try and understand my fascination with it. And so – into the dark.
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