By Damian Sutton
Drawing on Gilles Deleuze’s notion of the crystal photograph to maneuver past the tropes of immobility, stasis, and loss of life, Sutton’s research finds the open-endedness of time expressed within the photo, both as a possible for an considerable destiny or as a intensity of meandering remembrance. He provides an leading edge taxonomy of time within the photo, contemplating specific representations of time within the paintings of Nan Goldin, Eugène Atget, Andy Warhol, and others. He contrasts this taxonomy with representations of time in cinema seeing that 1895, providing clean readings of the movies of the Lumière brothers and Mitchell & Kenyon, in addition to newer works together with Eternal Sunshine of the Spotless Mind, Amélie, and A subject of lifestyles and Death.
Throughout this paintings, Sutton connects and grounds cinema and images as beginning issues to understand how we come to phrases, finally, with time itself as natural, immanent change.
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