Operated by John-Riley Harper. Dedicated to archiving photography from Utah's underground scenes, as well as other personal projects.

X-Mas Disco
The nightlife implies a shadow world, which is why artists like Frank Miller strike chords with the bleak contrast of black and white. What is hidden in the black - and burnt out in the white - reveals the key component of the night: ambiguity. Just as photography mimics the brain's system of memory, shadows and quick bits of detail hone in to represent memories of the night. Technically speaking, this is why most flash photography fails. It reveals too much and by doing so constructs a distorted image and warped perception of the experience. It would be like using an X-ray camera to photograph a football game (although other, deeper truths may be revealed in that project). Attention to all details might portray the world of the autistic whose tragedy lies in not being able to simplify the grass into the concept "lawn" and succumbs to the overwhelming visual onslaught of every blade. It does not connect with the more common mental habit of simplification, erasure, and categorization.

One of my struggles is to try and represent the little bit of detail that can turn a swirling scene into a slight articulation of the removal of ambiguity and to expose a few of the multiple readings possible in the instant that light flicks out and breathes meaning onto objects. The teeter-totter lies between the one side that looks like a beginning art student's third roll of film that elevates their psyche into a sad delusion of the artistic, hazy, dark, subdued and meaningless abstractionism, and the blown out crystal clarity and pock-marked boredom that happens once said person buys a flash. Sometimes I tip to one side and others to the other. The perfection in the middle is rare. This time I think I tipped to the side of the tipped to the side, hazy, out-of-focus, noisy, and artsy-freaking-fartsy.

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