That evening, I set out to drive 1.100 kilometres to photograph forty-two blue skies. I was to be a first grand field test for The Blue Skies Project.
I've been told that a good visual story is one that leaves sufficient "blanks" so the viewer can fill in and latch on... Not leave too little to the imagination, but also not leave too much; try to make it just right.
In this case, wanting to photograph 1,075 abstract blue skies seemed to be a little over the top: the idea is actually so abstract that it simply leaves everything to the imagination. Even photography itself. I'd be demanding a lot from the viewer. The work becomes a very, very delicate bubble in support of the story, even if it was quite deliberately done that way...
But might it be just too thin? Will it hold? The heaviest of stories paired with the simplest of photographs?
It seems like I might be venturing off into installation territory for this one. Not a bad thing per sé, not bad at all... but quite a break from my previous work, I must confess.
Reducing to the essence... Man, I don't think I've ever reduced anything to this extent.
That's the thought process I'm struggling with now: shaping The Blue Skies Project into something possible. Because The Blue Skies Project is me adding my little tiny drop, however small, to never forgetting the Holocaust. Because I believe we should not forget. And I'm scared that we might be. And if an installation turns out to be the best vehicle to bring this message across, well, then...
Hmmm... I just realize that the above might sound overly cryptic to everyone - maybe even to me. I guess I should describe the concept behind The Blue Skies Project pretty soon. And show a photograph too.
First on my to do list. Promise.
But now, sun's setting, spring's started, evening's beautiful. Today's given, tomorrow's never promised. Enjoy the now.