Colorama

(George Eastman House, 18 September 2010)

"Alps Skiers with Airplane, Near the Matterphorn in Switzerland" (January 27--February 17, 1964). In her beskied husband's plain view, a beskied woman shoots her husband's best friend (skies erect), posing in front of a  smooth red-and-white aeroplane aiming at the woman and positioned at a slight angle to the barely spoilt sheets of snow below, creased in the background to form the pillows of a mountain range---Alps, apparently. All four involved maintain a gentlemanly distance and leave it to the redness of their fuselages to convey the intensity of their encounter. "Couple in Blossoms at Bronx Botanical Gardens" (February 19--March 11, 1968). A woman---a kodak in her hands---rests her eyes on a flower bed. A man seeks to relive the woman's emotion by gazing at the spot just exposed on her kodak's film. "Portuguese Fishing Village, Nazare, Portugal" (August 9--August 30, 1965). Soaked in a setting sun's warmth that only a glass of wine can furnish, an American couple, installed on a balcony overlooking the sea, frame the shared memories of what later will be identified as the footage of their designated dream.

When one would have kissed before, one has been stepping ten feet away and taking a picture since then. When one would have diverted the eyes and looked down before, one has been boldly aiming the camera and taking a picture since then. When one would have used a drink to appreciate the world in all its over-saturated tones before, one has been loading a film and releasing the shutter since then. One was in no obligation to live a dream any more, it was enough to look a dream when cued by a photographer.

Then, the over-saturated colours, elaborate hairdos, and grow-ups' clothes went out of style. Broadcasting oneself---free from one's dream---took over amateur photography.