Making connections between disparate things, be they ideas or objects, has always had a special kind of fascination for me. Unlike comparing apples to apples, I think it can be much more enlightening seeing apples and oranges together.
In a previous post about the work of photographer Brett Wilson a generous reader clued me in to the work of another photography I had not yet encountered, a Dane named Keld Helmer-Petersen.
Keld took up a camera in the late 1930s and never put it down. He seemed to enjoy experimenting with a broad range of subject matter and technique. It seems from what I have yet explored of his images that his approach to photography was about a project much larger than the final result of any given image. He wasn’t trying to create a certain photograph at the end of the day, he was using photography itself as means to explore the world around him in all of its various forms.
His collected photographs are hosted online through the Royal Danish Library. In this time of social distancing and limited ability to get outside and make images of my own, I have found Keld’s images resonate quite deeply with the way I see the world.
There seems to be no organization to the online database of his photos, which highlights to me the eclectic and wide-ranging set of interests that grabbed Keld’s attention. The things that seemed to catch his attention weren’t the subjects of the scene so much as the relationships between various elements. He captured odd angles of buildings, light and angles, shadows of things as opposed to the things themselves, as well as a whole lot of experimentation with light and image made photographically without cameras.
The way he composes scenes showcases a way of seeing that calls to attention gestalt qualities occurring accidentally, unintentional forms arising out of unique arrangements of buildings and industrial forms.
For me, going through the back log of his work has been a surreal and striking experience. Like the interactions between abstract forms in his photographs, I find myself resonating and relating to his work quite strongly. The description that came to mind was described in a paper by Einstein in which he described “spooky action at a distance”, two particles sharing properties and influencing each other without any direct connection, often separated by vast amounts of space.
This is someone who shares a way of seeing that I can relate to. I can imagine myself taking the pictures that he has taken, and I can see what I think he was trying to capture in those same images.
The experience of making these sorts of connections is more than simply camaraderie, more than a knowing wink and a nod. To share this way of seeing with another artist is like being inside of them. It is an experience of deep sympathy and resonance. We are all ultimately looking to know that there are other people in the world who can relate to us in a meaningful way, and I am beginning to see the broad swath of art as the only real means of finding these visceral connections.
In this time while most of us are spending time sheltering in place and keeping our distance from one another. How vital to continue sharing work that can build these connections over great distance and even gulfs of time, so that we can find others that see how we see and let us know that we are never alone.
If nothing else I am about 2000 images into his collection, and there are more than 18,000 hosted to go through, which should keep me busy.
Collection of photographs hosted by the Royal Danish Library. This resource has an incredible amount of collected media beyond images including writing and visual arts. Though much of the site is in Danish, this is still a wonderful place to explore while sheltering in place.