Rich Pictures

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Rich Pictures

 

catching wasps in cobwebs

brutal lines and angles

graffiti strewn puddles

homeless persons

hopeless gaze

 

shimmer on a wheelchair

in an old abandoned hospital

where cries ring out at night

In the empty cells

 

demons in the trees

caught in click

spiral monsters

under piers

foaming lap

of northern tides

 

fractured bulbs

exploding light

strobes the fae

and urban demons

in mushroom circles

cast upon street rubble

 

the Cyclops

with blinking eye

draws souls

paints discontent

and happiness

in monochrome

boxes of humanity

 

digital Pandora

letting loose

the unrequited,

the beguiled,

the lost

 

flash

closer

flash

closer

flash

close

flash

 

too close

 

Inspired By: photograph by Richard Nixon (c) Rich Pictures

https://www.facebook.com/richpicturesphotography

brutalphotographyrichpix

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Comments

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Ian Whiteley

Wed 6th Jan 2016 23:57

aye up Harry
I'll add these comments to the blog 'Rich Pictures' too - as it may prompt more discussion.
As you say - it's a tough one to describe images that the reader can't see, which is why I love the opportunity on WOL to include an image with the words - not always necessary - but it can help understanding.
This piece is part of a collaboration between the photographer (Richard Nixon) and 3 poets - myself, Laura Taylor and John Togher. We are using (Mainly) black and white source photographs that strike a chord with each of us individually. In the main we are being either descriptive or relaying how the image makes us feel.
This poem was my attempt to capture what the whole experience meant to me - and the thing that strikes me about Richard's pictures are the way he manipulates light with organic and inorganic subject matter - and his use of 'soft' shapes and 'hard' lines and angles. Because of this there will be some conflict in my own use of language, because it encompasses the whole, rather than any one image (Hope that makes sense).
For anyone interested, type the words 'Richpix' in the tag search field and all the pieces we have done so far should magically appear. That may give a better idea as to why summarising the whole project this way throws up conflicting imagery in the words (I hope).
Thanks for the kind comments - I appreciate it as always
Ian

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Harry O'Neill

Wed 6th Jan 2016 20:44

Ian,
These descriptions of what (I presume) are individual photographs remind me of some thoughts I had once when we had a long - argumentative - thread about ` The Red Wheelbarrow` and imagist poetry.

I wondered afterwards why no one had brought up the idea of still life in painting as a reason for the imagist idea.

I tried to imagine each of the photographs you describe, but couldn`t get rid of the thought that the two types of representation are incompatible.

For instance your stanza four has the `active` terms fractured, exploding, strobes and cast which, I can well imagine, describe the effect the photography had on you yourself, but wonder if it really `conveys` the photography itself.

I`ve often noticed that a poem about a sunset which includes a coloured photograph usually loses hands down against even an ordinary picture.

As someone who`s actually had a go at trying it what do you think?










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