Sunday, July 13, 2014

Basting (The Dressmaker's Daughters 2)

PHOTOGRAPHER’S JOURNAL: I used to think my photographs should be expressive. I’ve come to believe the best photographs are not expressive but impressive; they draw us in, engage us with their forms and say as much by what is left out as by what is included so that as viewers we are forced to make our own connections and fill the gaps with our own sensibilities and experiences. In seeking to express, the photograph risks overwhelming the viewer’s creative energies.  The point is not, “Do you get it?” Rather it is, “What do you find there? What do you make of it?”

I was delighted at the variety of responses I received on the previous “Dressmaker’s Daughters.”  This reply from Mary Weissbrod especially caught the spirit of enjoying open-ended possibilities:

"I see sadness. Perhaps a lady who worked all the time to support her kids and dreamed of a life of excitement and power as a designer to the rich and famous. Instead she sews for a hard ass boss who doesn't care if her talents show as long as she makes him look good. She is lonely because she works day and night and has only her mannequins as friends. I see the garment district and the juxtaposition of the haves and have nots who work there. I see a story similar to Pinocchio. The mannequins are longingly looking out the window wishing they could be real. I see the emptiness of the loft the mannequins are in and the coldness of the streets outside. New York can be like that. There’s no doubt that it is anywhere else but New York. 
...Your photo speaks many things to me. I could make up lots of stories that it creates in my mind.” -Mary Weissbrod

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