The motion blur and the focus blur amplify that feeling of the unknown. It removes the particular details and makes the objects more prototypes, more universal forms. The scenes are not from my world but from everyone’s world. The technique of photography is applied to capture that experience.
Each photograph is its own moment. They come from different times and places. Strung together, they show a journey, jumping from place to place, an actual journey I have made. This is also a journey through my subconscious, which is not much different from anyone’s subconscious, as it throws up this projection and that projection.  But in the bardo space and time are just the conventions of a stage play, because they are empty. All the different moments are pictures of the same thing, which you could call emptiness. Does everything change or does nothing change?
In each picture what you see is a shell, a curtain, hiding a secret. Who is inside the building, what is going on? Who is the person behind the face, what are they thinking? Something is going on here, but what? Mostly people want to see the drama of people’s lives that is entertainment. My pictures of buildings are pictures of the undramatic space in which all those dramas take place, so they contain all of that drama as a primordial energy. There is the mystery of what is hidden behind a screen, and there is also the screen as the reality behind the phenomena. It’s a contextual figure-background reversal.
The building, the house, is a metaphor for the creation, for physicality itself. Physicality hides reality behind its illusion, but at the same time the Zen masters tell us samsara is nirvana. There is no hidden mystery, and that is a mystery. These pictures call me to recognize that I am living in a mystery, to dive into don’t-know mind. Look >>>

 

 

 

 

 

 Ngelight' site

 

http://www.myspace.com/ngelight