“Like Traces of Blackbirds in Daylight” is about pictures. About memory and images of the past, about the images we see when we move forward, and the images we create in this interplay, doing exactly this.
“Like Traces of Blackbirds in Daylight” is about treasure hunting. About a deep fascination and love for photographic history and tradition, for the singular, special and beautiful image. About finding it, as taking it today, by following traces, in pathfinding and sensation of the world. Qualities that are central and crucial to being a photographer, in 1873 as today.
But the body of work is not only about treasure hunting, and photography, it is about what makes sense, what affords an experience of coherence, of the experience that the paths you chose and the ways you seek, are tied to your deepest and earliest longing, to a feeling of belonging and being free at the same time.
Its about juxtaposition, about traces of tradition, present and future, about our contemporary digital image culture, where, the paths and the traces are many, and how this culture inform us on what its like to have a history, an imagination, and on what straightforward makes sense, feels right and feels valid.
Most of all the body of work, is about images of the present, about the images that form inside us, when a photograph initiates them, and add to not only our orientating, but our being in the world.
“Like Traces of Blackbirds in Daylight” makes use of old publicly accessible scanned analogue photographs, and new ones I have taken myself. Juxtaposed in a body of work, consisting of diptychs, they seek to facilitate a coherent aesthetic space of proximity, and of being personally ‘touched’. Of being touched on the feeling of finding way, of being lost, of standing still, of losing ground and of being present, being searching and being inspired.
With the help of photographic imagery as a cultural and historical phenomenon, “Like Traces of Blackbirds in Dayligtht” this way seek to be a both engaging, a touching and a generous body of work.
The body of work also refers to our contemporary image culture, seek to engage it by using photographs from another time, and photographs taken today which are placing themselves within the fast, unsteady digital, and hastily online shared, and the finished tangible framed physical work.
It is not the analogue versus the digital, the authentic versus the fluid and copied, rather the importance is on the traces we follow and the traces we create and leave, altogether in a culture, where image and history, direction and dreams are the frames we constantly must embrace, extend and recreate.
Nikolaj Callesen, October 2016