Lounge
April 17, 2015
42nd Roe Ethridge Solo Exhibition: Good Night Flowers (Part 2)
RAT HOLE GALLERY
The 42nd Solo Exhibition by Roe Ethridge: 'Good Night Flowers' (Part 2)
Continuing from our previous discussion, we present the rest of our interview with Roe Ethridge. Ethridge is an artist highly regarded for his work with large-format cameras, capturing classical motifs such as landscapes, living things, and portraits. His beautiful photographs are not only photogenic but also possess a depth of meaning, compelling viewers to return to them again and again. We asked him about his approach to photography, his methods, and his views on the medium, seeking to understand the source of this mysterious power.
Photo by Jamandfixedit by TAKEUCHI Toranosuke(City Writes)
My Photographs Are Not Complete the Moment the Shutter is Pressed
—You mentioned earlier (※last time) that the flower photographs, originally taken in color, were deliberately printed in monochrome for this exhibition. Do you ever shoot with monochrome in mind from the outset?
Ethridge: No, I don't think about shooting in monochrome from the beginning. I always shoot in color. It's just that when I got to the printing stage, I tried monochrome and it became a new work. When I want to transform a piece into something else, removing the color is the simplest method.
—Is that the case with the horse photographs as well?
Ethridge: Yes, that too. I first tried it with the flower photographs, and it resulted in a very fresh work, so I removed the color from the horse photographs as well. As I mentioned earlier (※last time), I don't consider my photographs to be complete the moment the shutter is pressed. Even with photos I took in the past, I always consider how to present them anew when I decide to publish them. In a sense, my photographs are like when you make whiskey, always adding a bit of the previous batch to a new barrel. In France, you have baguettes. They've been using the same yeast for over 400 years, passed down through generations. They never let the original yeast die out. In the same way, my works are never finished. They continuously influence my future. At some point, I realized that photographs taken with a specific project or concept in mind weren't truthful, which led me to my current method.
The Feeling That a Viewed Work Stays With You, Day After Day
—When do you feel the impulse to press the shutter?
Ethridge: It depends on the situation. Sometimes I press the shutter after careful consideration, and other times I rely on inspiration. And what's important is that inspiration isn't just at the moment of pressing the shutter. For example, deciding to convert a color photograph to monochrome is also a form of inspiration. Therefore, I'm not necessarily trying to capture the 'decisive moment' in the way Henri Cartier-Bresson did.
—Do you have any rules you adhere to when taking photographs?
Ethridge: That's a very difficult question. That's because I'm always trying new things. If I had to say one thing, it would be not to get too fixated on any one thing. That might be the only rule.
—So, what is it that you want to convey through your photographs?
Ethridge: (After a moment of thought) For example, when I go to another artist's art show, what I enjoy most is the feeling that the work stays with me, follows me the next day, and the day after that. So, I hope my works do the same for those who see them. Rather than conveying something explicit, I would be happiest if I could leave a sense of mystery with the viewer. I'd be delighted if people thought, 'What was that about?' the next day.
—In that sense, the flower photographs in this exhibition evoke that kind of mysterious feeling. The flowers seem to blend into the floral background, and when you look closely, they are out of focus, but in focus when viewed from a slight distance. They appear to float out from the background. It's very striking.
Ethridge: Thank you. I shot the flower photographs against a floral background partly with Matisse in mind (laughs). As for the focus, it wasn't intentional; it's just how it turned out using a 4x5 pinhole camera. Yes, it was a 'happy encounter between intention and chance.'
(End)
Roe Ethridge Solo Exhibition 'Good Night Flowers'
On view until Sunday, April 26, 2009
RAT HOLE GALLERY
12:00–20:00 (Closed Mondays)
RAT HOLE GALLERY & BOOKS
5-5-3-B1 Minami-Aoyama, Minato-ku, Tokyo
Tel. 03-6419-3581
http://www.ratholegallery.com