In this statement piece, the artist is exploring the significance of objects as they relate to everyday life in the bleak mundanity of current century.

Pffft. No I’m not. I just made that up.

Instead, I walked around and took a series of pictures of stereotypical street subjects favored by the types of pretentious people who go around spouting that only black and white images are inherently true art, and whose beanies are probably a bit too tight.

An incredible amount of information is lost if you shackle yourself to monochrome. If you insist on doing so for artsy-fartsy purposes, I advise you to think hard about why first rather than just because it’s the done thing to do, as if it automatically adds profundity to a fossilized slice of light.

Luckily I didn’t take these in black and white at all. I simply smashed them into greyscale using my editing software. The full color renditions are:

If zis were an American film I would have a gun, and perhaps do a little car chase. But it is French. Merde.

  • dual_sport_dork 🐧🗡️@lemmy.worldOPEnglish
    1·
    5 days ago

    Indeed, these are arranged roughly in ascending order of the importance of color. The locks picture works, and the one with the glass manages to still be an interesting shape although otherwise you’d never know it was green. The orange blinker and sign don’t tell you much about themselves at all without their color, and the bridge girder full of stickers is flat out boring. If it weren’t for the color standing out, you’d probably never even notice that kite was in the tree at all from the ground — I took that one at a 432mm focal length according to the image data, so it was quite far overhead.

    As an aside, I wonder how many of those locks were shackled there in youthful exuberance now symbolize nothing, and are the only thing remaining of a parade of evaporated romances.

    Probably most of them. The bridge was positively festooned with them.