LANDSCAPES IN MOTION (2016)
LANDSCAPES IN MOTION is an in-progress series of photographs using my camera to compose imagery/story/abstractions of the still landscapes, which help communicate my feeling that all things observed as still or stationary are in flux. Regardless of this not being observable with the eye, it is in my thoughts that it is felt with the heart, spirit, or soul. Are we, and the environments we live in, moving faster than we can conceptualize but we remain so heavily distracted (by choice) that we cannot understand this as a complete and integrated person? What does this do to our minds, bodies, and spirits as we function in our daily lives and engage with those that we chose and avoid those we cannot bare to allow as our mirrors? These photographs represent a life that is something to be or move with and less as something to hold onto. Nothing is as it was and never will be. Only as it is: always changing.
I did not use any postproduction tools for these photographs. They are all composed in camera; digital photography, from the foundation of a 35mm film approach, using manual features on my camera. I have been sharing my print photographs on a mounted, heavy weight, black gatorboard so that the photograph can not only speak for itself without the distraction of a frame or the glare of the glass but if anyone is interested in buying they can put them up as is or choose their own frame that fits their lifestyle, home, office, etc.
Thank you for your beautiful eyes. May you continue to share them with empathy, transparency, integrity and love.
CARLY HOOPES is a Bay Area photographer who documents “naturally” occurring compositions as she finds them (without rearranging ANYTHING). You may find her gathering bits of visual treasure on the side of the road, at the ocean’s edge, near railroad tracks, freeway underpasses, alleyways, dumpsters, piles of garbage (to some), or going quietly into abandoned structures.
The subject matter of Hoopes’ work is often ephemeral. She composes her photographs in camera from the momentary arrangement of weathered waste, burnt remains, abandoned structures and objects and landscapes from her experiences with an awareness that anything and everything could be altered dramatically by the kick of a foot, steady wind, curious hand, nature’s force, or work of a demolition crew.