"How little we know them," indeed.
It is the space between where my mothering ends and their wonder of the world begins.
For as much as each child depends upon the presence of my life, there are moments in the midst of my presence that I feel their absence.
There is something about sharing a birthday with two other family members. For as much as they have shared since the tiny beginnings of their lives, still...there is a space between. A space between where their unit ends and their individuality begin.
And I watch from afar. I follow dark shadows and footprints and bent knees to places that I know they must go alone. The space between where their role in my life ends and their role in their own life begins.
The photographs don't represent memories as much as they represent an acknowledgement...an acceptance. Or perhaps, a certain respect.
Hush....I say to myself. Shhhh. I filter out the noise, the excess, the unimportant pollution that distracts me from seeing that space. That space in between where she clings and lets go. The space where I don't exist because in that moment she is far far away...
The world carries them away. This I know. This I resist. This moment I freeze and negotiate and beg to slow, or simmer, or rewind.
But I can't compete with the grand world. It laps them up and lulls them with dreams and promises full of magic and wonder.
I follow. I watch. I listen.
I protect. And cheer.
I rally.
I rally.
All the while I know that the beauty lies in their ability to fly away...to become who it is they are destined to become. Who they are beyond me.
Fly, I whisper. But not just yet.
Where are you, I wonder. Is momma there?
Where are you going, I wonder? Is momma there?
He is lost in color and sparkles and fantastic imagination. I am there but he lost in the sky.
I can touch her shoulder, or her hair, or the grain of sand on her toe. But I have no idea where she is this very moment. She is floating along the sea, counting feathers...She is building castles made of white glittery sand.
"How little we know them," indeed. They are making their own way and choosing their own paths.
I trace their footprints with my mind, knowing I cannot follow.
I trace their footprints with my mind, knowing I cannot follow.
I observe these moments that I am no longer a part...
They are immersed in a world that I simply witness from the sidelines of motherhood.
Something catches his eye, sparks a thought, turns out an idea, summons a fear....
The tide comes in and out. They are near and far. They are everywhere and nowhere.
Oh how I wish the lens would capture and close the space. The space in between where I end, and they begin.
The space in between me and their world grows larger and wider and taller.
But I believe that it is in that space...the space between holding on and letting go...
that they will truly find each other.
In my photo essay, "The Space Between," I attempted to convey the irony and conflict that exists between the enormous responsibility of caring for a child (and in my case, 5 children) and the reality of their impenetrable separateness. Much to our paternal dismay, we are made vulnerable by their individuality. And despite our longing to grow, nurture, and plant them in the world, we are all at once in disbelief that as their life-giver, we are somehow left out of the softest, sweetest---perhaps significant utterances within their mysterious lives. We can't always hear what the world is saying to them. How can that be?
To further complicate my own story, my middle triplet (pictured in the tree and the canon camera lens) has Aspergers Syndrome which often makes the space between my world and his feel exponentially wide. His is the only front facing photo and although you can't make out the features, his climbing up and away instead of out and away (like the other children are pictured) represents his unique way of thinking---his life on his terms.
As a whole, I feel like my project differed from those we have discussed in class in that the pictures I selected were taken randomly over a period of time and not taken specifically for any such project. In other words, it wasn't until I began searching through hundreds of photos that I was able to feel the punctum. There is no doubt that my subconscious resistance to the awareness of my threatened maternal role was a factor each and every time I selected to capture an image. I realize that now. There is no doubt that my choice to edit my photos enabled me to filter out noise and center on that which I was simultaneously trying to resist and square away. The narrative I was telling was directed to myself, that part of the self which wanted to make sense of the feelings swirling around the evolution of roles and identities and realities. The shifting of the spaces. I often say to my children (in the privacy of my head), "oh, if I could write you..." And then I snap a photo and I bring out the finest point, and write to them, about them, with them--through that photo. The color, the style, the artistry is a way to let the rest fall away and focus on the poems that they are to me.
Letting Go- All of these images hide your children's faces. And, the majority of them are of your children walking away from you. I see this as being your love for their individuality, your worry about the future, and your wish that they'll always stay your babies.
ReplyDeleteGrowing Up - As we mentioned in class, there is definitely the sense of departure and a sense of disconnect from every image. Because we are always denied the experience of viewing faces, I feel as if the images are beyond my ability to properly experience any of these moments. However, they clearly lie in the memory of the photographer. I believe this essay is a good example of "ambiguity" when analyzing images because as a viewer, I believe that the photographer can see angles of the photographs that are not available to me.
ReplyDeleteBecause these images all share a common "essential" (in this case, the birth of camaraderie), I can easily implant these photos into my own repertoire of quotations. The quotes range from the general episode of childhood travel and adventure to the more specific memory of a window, a curtain, or even a makeshift "fort" that I shared with my younger sister and cousins (the first photo evokes several of these personal specifics). On a different note, I would love to know more about the role of the "camera-lens reflection" image in Daune's essay. I see a wound in this photo--a figure stretching, or growing, or simply playing. But which? That is a mystery that the viewer will not (and possibly should not) solve.
ReplyDeleteYouth- I love the perspective of each photo. The children are fleeing to the next step in their lives, leaving the lone photographer to capture their departure. This collection leads to the question, what is the role of the photographer? Mohr would argue the photographer gives these photos meaning and in this case, Daune is capturing moments in her own children's lives with a specific goal. She has the power. However, the ambiguity of the subjects (we cannot see their faces) allows the viewer to be the giver of meaning (Berger) I am able to see these images as a reflection of my own youth, flowing through the seasons and quickly moving forward.
ReplyDeleteThe photoset is largely characterized by young children doing fun activities such as swimming and cycling, and thus project the idea of a "leisure life." That idea is heightened by the filters utilized on the pictures, which invoke nostalgia. Youth will not last forever, but there's nothing for the children to be worried about. They're in good hands no matter where they go or what they do.
ReplyDeleteI called this essay Fleeing Immortality. What really struck me about the series of images is how the children always have their backs turned towards the camera. It is as if they don't want to be photographed. They are always too preoccupied with their games to pay any witness to something behind them. They look forwards, not backwards. It deals with issues of backshadowing and short and long quotations. More than that, I think this essay is a larger commentary on youth. We young people never like to look back, and we don't like to consider death because we believe that we will live forever.
ReplyDeleteI imagine these photographs are the culmination of what it means to be a loving parent. It is always the children that are front and center, making their own paths in the world, assisted only by loving guidance. While the person providing that guidance may be apprehensive about the little ones forging their own paths, I imagine there is also a sense of immense pride and joy to watch the process. For me these photographs really addressed the dichotomy between the general and the specific. I feel that these photos reveal a universal truth, in parenting as well as any loving relationships, where one is forced to let the loved on go so that they may partake fully of the world. It amazes me that something so universal can be achieved by subjects which are so personal to you, and it speaks of the vast potential that photography has as a medium.
ReplyDeleteI agree with the others that the main motif I see here is that of running away from the person with the camera and the sense that there is something in front of the children more compelling than the idea of standing still hand having their picture taken. I feel like some of these pictures have a sense of loss and disappointment, while some of the more static ones--the children all standing in a line by the ocean, for instance--feel like there's more of a feeling of pride, or at the very least acknowledgment that the children are people with their own interests and not just subjects of photos. In fact, the whole essay seems to counteract the idea that the subject only exists within the context of the photo and grants the subjects a lot more autonomy than frequently seen.
ReplyDeleteDaune, we talked about your thoughts behind the essay together, so I feel bad commenting! But one photo we hadn’t discussed that especially struck me looking over again is the dandelion. No one seems to be blowing at it, but the wind is carrying away its fibers anyway, much as the children throughout the essay are drifting away from the photographer. The darkness of the filter throughout seems to tinge that process with a quiet mourning.
ReplyDeleteThat's me, I say pointing at the boy on the bicycle with his little calves delicately turned toward the handlebars. And those are my footprints in the snow! How did you find these picture of my childhood? And who took these? I though I was alone, or just with my playmate.
ReplyDeleteTheir faces turned away, I could be (am) any of these children. The glow of a slightly long exposure, the blur of a moving camera: these hazes like the cloudiness of memories: its delicious mutability and nostalgic fog.
But I am turned off suddenly, because no one was there taking pictures of me when I starred at the fireworks on the edge of a cornfield with my best-friend. And the boarders, color saturation, the rushed fade of a fresh digital photo make me distrust these memories, if they even are such.
How little we know them, even when they are so small. They are always looking away even when they went to be held so close.
ReplyDeleteI wonder if you are asking the wrong question of yourself. Perhaps it is not that you depend on photographs for your writing, but that you should break free of text altogether and just use your photographs to tell a story. I feel, in this essay, that this might work best with only the afterword, and the inter-image captions are unnecessary. The narrative link between them is so profound, the words interfere. Like Alexa's, perhaps a foreword and an afterword would have done the trick.
ReplyDeleteI don't agree with Sam's comment that one should read these photos as memories and that it is forbidden to alter them in any way if you want to maintain their personal or autobiographical quality. The images stand in relation to one another -- you have chosen a powerful conceit out of your gallery of photographs. Part of what makes the essay so compelling is that some of the images have been altered and some have not -- they seem arbitrarily arranged and yet wholly deliberate at the same time.
The length of the essay allows for a degree of self-sustaining continuity and narrative unfolding that wasn't possible with significantly shorter essays. In fact, perhaps the reason I decided to initiate the give and take among the members of the class and had you write a commentary in dialogue with others' comments is because most of your classmates took the minimum to heart and did minimalistic narratives. Therefore, the addition of text felt necessary.