By Bob Booth
It has been said that photography is about ‘light and moment’. Looking at a photograph by David Doubilet of a diver seen beyond a halo of circling fish against a shimmering fish-view sky, it occurred to me that I would have felt cheated, had I found the images to have been constructed from a number of other photographs. Although a convincingly similar effect could perhaps have been produced that way, the integrity of this art form depends in some sense on the ‘moment’. Its truth is in the kind of seeing which is often lost to the unskilled eye, but returned to us by the David Doubilet’s of this world.
The Spoiling of Joseph, comes from a story in the Old Testament of a family with archetypal significance. The narrative presents the deadening and spoiling nature of jealousy and favoritism, but sets all this mess, against a background of God’s persistent grace.
This formation is not enhanced by photographic recollection; it is a memory which is the embodiment in a painting of the relationship between remembering and contemplation. As we paint the becoming image is what it is, not because of its precision, but because of its breadth and source.