Combining Stereo Photography With Light Painting (Part 2)

I believe that via the medium of light-painted stereoscopic photography, the hermetic cultural data of a sacred place is preserved, allowing its gestural and symbolic nature to survive the seeming technological insensitivity that may be inherent in a documentary process.  Humbled that I am by these profound places, I intend my three-dimensional images to be neither didactic nor pedagogical but to convey the spirit of a landscape secularized by abuse and misuse.

Co-creating photographs with me in sacred places have been spiritual leaders, medicine women and men who bring to the process penetrating symbols from the depths of their unique collective cultural consciousness. It is essence of place that surfaces.

While I initially hesitated to impose interpretation on place, I recognize that inherent in its sacredness is an ambiguity. The most sacred is enigmatic and must remain so. As the rock art panel is an inscriptive articulation of ideas, so, too, is my light-painted stereoscopic image of it. For me a ritualistic act, photographing sacred geography using these techniques re-creates a primal response and celebrates its validity to life and indivisibility from culture.

It is the paradigm of many sacred places that there reside elements that are sometimes at odds and sometimes in harmony with each other. In my images, nature is not singled out as subject. Rather, the interrelationship of nature and humanity emerges, that extraordinary place “in time and space” where paradoxical powers coexist, where reality and duality assume shape and form and open me to other potentialities.

End of Part 2 of 2

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