Photography is a fluid term and one that is no longer limited to static imagery. Videography and the study of pictures in motion have increasingly taken centre stage and it seemed necessary therefore to include someone who has consistently pushed the boundaries of photography, blurring the lines between film and still image, as part of our photography focus this week.
Adam Magyar is a photographer who has developed his own kind of slow motion camera to discover where the lines between the two mediums lie and was a natural choice in this case. In the project STAINLESS, commuters waiting for the subway are captured on the platform in slow motion, creating a strangely mesmerising window into their fleeting world. Magyar himself describes the project as ‘constant data collection about life passing by in front of me’ and his documentation of the mundane is perhaps more illuminating than conventional photography. His subjects for STAINLESS are scrutinizing their own uncertain futures, the darkness of the tunnels deep below the city turning these chemically clean mock-ups into ‘fossils of our time’. Talking openly about his inspirations, Magyar emphasises that:
‘The factor of time is essential both in our private history and for humanity as a community. I am more interested in the drama of our own transience. In my works I capture man’s finite time in infinity. In my images I ‘stage’ a situation where people are seen from a distance and I depict them as particles in a system. The observer of this scene is an imaginary person, looking at the whole as an outsider, as if being exempt from the laws of time.’