An appreciation of
These four young refugees from Kosovo seem almost blown out of the right of the frame – a perfect blend of young joy in friendship within a double context of a windy hillside and the wider context of the war, from which presumably this is blessed relief.
It is one of the most perfect photographs I have ever seen because its form so perfectly enforces the spirit of its subject matter. Everything contributes, including the bits that might be considered imperfections; the right-hand girls’ almost closed eyes, the falling out of the right-hand side of the frame, the gap-toothed grin, the grandeur of the terrain, the sky-scape the upper right of the sun’s position, the floral sleeve that helps the little one peek out from the world and photographer from the embrace of safety, the wind coming up from down the valley, the threat of the dark clouds, the floral girl’s head position and the right-hand girls up raised arm continue the flow of wind and energy from bottom right, the shadow on the grey T-shirt which we hope (and trust) is benign, the shadow-shaping of the hills, the tightness of the embrace, the almost universal laughter, the sheer joie de vivre……………
This woman peers through a gauze cloth with her two companions, during Mother Theresa’s funeral.
Such resonance and associations, grief itself, our seeing through a gauze darkly, the eyes deadened by grief, the delicate flowers (weeds or grasses?), the echo between the grass-flowers and the diagonal stripes in the gauze……………
Most of all they appear to be moving as in a carraige and the glance of that heavied face appears to be the serendipity of ‘The Decise Moment’.
Through the genius of the photographer, and the life of Mother Theresa we might come to see, and be seen – clearly.
A major gallery of Carol Guzy’s work is HERE
The Washington Post ‘Camera Works’ is HERE
All postings to this site relate to the central model in the PhD.
Summaries are HERE