Going back along the forest paths where as child I used to hide and play and construct worlds of fantasy, I today carry with me huge rolls of film. By ditching the camera and letting nature decide on itｴs own decisive moment I hope to catch a glimpse of that elusive primal feeling that only the innocent young and the wild beast have in common.
In the middle of the night I hang my film in the open air to let the landscape expose itself on my canvas of chemicals. Back home again I develop my film and make life size contact prints. The tears and scratches are just as much a part of the imprint of the trees as the shape and shadow they leave on the film.
By this process the film ends up as a sampling tool, dipped and left to soak in the unadulterated darkness of the natural night. The impressions left on the film have not been placed there as a result of careful framing by a subjective eye looking through a viewfinder. Instead these photographs are the visible chemical recordings of physical processes going on independently of the interpreting observer.
Facing the images that in a way are made by themselves we get to see Mother Nature caught by a maelstrom of photons, rearing up on her hind legs looking back at us with a defiant stare. Nature is not something we can force into right angles and a balanced composition. But in these works she is pinned down through natural chemical reactions, and the laws of physics shows us the seething breeding ground of our inner phantasms.
Find Stig here: www.weston.no