In the recent move to self-conscious high art, the genre has been remade by theatrics and cinematics. The photographer-observer has been overshadowed by the photographer-director. Where the street was once a fluid space for the photographer’s “dynamic of anticipatory framing”, it has become a stage for grand enactments.
Jason Evans retains that older position of the lone photographer-observer. At the same time, he adds the lightest of director’s touches. Fruit has been plucked and placed in each scene.
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Published in Photoworks Issue 2, 2004
Commissioned by Photoworks