Personal Work : There is a species of frog whose brain will not register if lunch is moving out of reach of its sticky tongue. Its eyes still send signals of a receding meal, but it has evolved in such an extraordinary manner, that there is no part of its brain allocated to receive those signals. It wastes no energy and suffers no angst because it has no perception of this missed opportunity. Almost one third of human grey matter is devoted to processing visual information – most of it irrelevant. So what happened ?
Perhaps because my life moves in constant chaos, I value simplicity. Intuition tells me to discard, so I cannot fathom complexity, so I edit.
I put bits together and discard bits that don’t fit. I am naturally lazy, so I allow my subconscious to do the work. I have no formula – it is intuitive and changes randomly with the elements. Photographs are the medium used to disseminate information.
Wars love sex hamburgers and whiskey – diamonds cars bras beer and perfume – paintings movies music and even photographs themselves.
Every newspaper and magazine, every invitation, postcard, catalogue and website relies on photography to promote its image. It permeates every second of our lives, becomes the very memory of our dreams. If I say Mona Lisa, we all see a picture in our mind. Yet how many of us have seen the real Mona Lisa? I know her only from a photograph. So why is it that the photograph is the most misunderstood medium of all?
It fascinates us because it is a fabulous two-dimensional lie. A photograph may be moulded over time but it is frozen in an instant. And at that instant we are blind. We never see the moment that the camera sees. We are drawn to the mystery and seduced by the magic, and words confuse the muse.
We can only interpret based on personal experience and that experience is so subjective, so momentary, that a strong photograph will produce strong emotions that transcend the mere document. Merely a trigger to our memory of substitution, but through it we perceive far more than we see. The frog couldn’t care less. It waits patiently and contemplates the approach of dinner.
About Terence Bogue
Born in Brazil and greatly influenced by pioneering photographer Otto Stupakoff. Studied at Art Center College of Design in Los Angeles, then worked for Adrian Flowers in London before moving to Australia in 1974.
In 1979 set up a studio in South Melbourne specializing in photography for artists, galleries and museums.
Photographs are held in private and public collections in Brazil, UK and Australia. Including the Tasmanian Museum and Art Gallery, the Castlemaine Art Gallery and the National Portrait Gallery, Canberra. I am intrigued by façade, costume, uniform and adornment – their role in perception and prejudice.
How social mores change with time and place and culture. Where models are cast out and outcasts become models. Where restraint produces freedom, yet freedom is restrained. Where nudity conceals and dress reveals. How social circles wind through circus and burlesque – craving the very passion they condemn.
Part of the fascination with photography is that it is such an unpredictable lie. We can only interpret based on personal experience and that experience is so subjective, so momentary, that strong photographs produce strong emotions that transcend the mere document. This is why I see a photograph as merely a trigger to our memory of substitution. As such it will always be the better for what is left out. [Official Website]