I wanted to make pictures that felt natural, that felt like seeing, that didn’t feel like taking something in the world and making a piece of art out of it.
Interpretation
Stephen Shore emphasizes creating art that reflects genuine experiences rather than merely converting reality into an artwork.
In this quote, Stephen Shore expresses his desire to create photographs that resonate with the viewer's perceptions of reality. He aims for his art to encapsulate the essence of seeing and experiencing the world, rather than just a mechanical representation of it. This idea highlights the artist's intent to evoke an authentic feeling from the viewer, bridging the gap between art and reality.
In practice
During an art gallery opening to discuss the intention behind each piece.
I meet young artists and it becomes clear that with some the main motivation is getting a show in Chelsea. It strikes me that this is very different to the way it was for me, which was that I wanted to understand photography and the world and myself.
To see something spectacular and recognise it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognize it as a photographic possibility - that is what I am interested in.
This idea of imposing an order is very interesting to me. Photography is in essence an analytic medium. … In photography, you start with the whole world and every decision you make imposes an order on it. The question is to what extent it’s an idealized order I’m imposing or is it an order that grows out of what the world looks like.
There's something arbitrary about taking a picture. So I can stand at the edge of a highway and take one step forward and it can be a natural landscape untouched by man and I can take one step back and include a guardrail and change the meaning of the picture radically... I can take a picture of a person at one moment and make them look contemplative and photograph them two seconds later and make them look frivolous.
Photographers have to impose order, bring structure to what they photograph. It is inevitable. A photograph without structure is like a sentence without grammar-it is incomprehensible, even inconceivable.
A photograph has edges the world does not.
I have designed my style pantomimes as white ink drawings on black backgrounds, so that man's destiny appears as a thread lost in an endless labyrinth. I have tried to shed some gleams of light on the shadow of man startled by his anguish.
What you have in your head, put down on paper. The head is a fragile vessel.
The reality of a poem is a very ghostly one. It suggests, it suggests, it suggests again.
I maintain that anyone who still refuses to see, for instance, a horse galloping on a tomato, must be an idiot. A tomato is also a child's balloon - Surrealism, again, having suppressed the word "like."
If anyone gets in my way when I'm making a picture, I become irrational. I'm never sure what I am going to do, or sometimes even aware of what I do-only that I want that picture.
I consider space to be a material. The articulation of space has come to take precedence over other concerns. I attempt to use sculptural form to make space distinct.
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