How to draw the line that signifies to what extent photography means to be read as a narrative?
By capturing a minute part of reality, within that fraction of second considered by Henri Cartier-Bresson as a spectral evidence, photographers gather moments. Persons, places, objects, all this as exposed as hidden by degrees into the evanescence of their own personal enigma… It is then necessary — explains in metaphors poet Carlos Drummond de Andrade — that magic lens enrich the human vision, and the truth of each thing, to allow the observer to penetrate deeply into this pure enigma.
Photography — a quick gesture. Single images as if eternalizing single moments. But descending into details of this snapshot, we also encounter tales beyond the frames, a continuum of gestures and movements between the lines coming into existence and going far beyond what is immediately seen through the lens.
By revealing processes and movements (in)visible to the naked eye, photography also allows the observer to see (in)visible slow scenes. It also brings out or discharges time-lapse images, their collapsing hours, days, weeks, years, or such an indefinite period of time kept on or activated by the memory, or others just so remote to be stated as a marked one.
This visual representation of reality(ies) acquires then symbolic resonances. It can work at the level of schematized plots pointing to realms being reconstructed by these (in)visible plots, some unseen layers inside other layers, and in this condition activating too much coherence to provide us a set of structures and many ways of inter-relating them…
Even under the apparent discrepancy between the temporality of the photography (which is instantaneous) and the temporality of the speech (durational), photography and narrative can be, indeed, intimately interwoven.
And so my encounter today is with Miki Turner, this sensitive photographer. Her images always seem to grow deeper on that realm that reveals journeys, such an appealing sequence built into a narrative structure over a period of time which feels like we, the observers, are not only in front of stagnant moments captured by minute magic lens, but we enlarge to the need of penetrating those realities she registers, and communicates.
With a double movement of exploring Miki’s images, ranging from contemplation of all the beauty we see on in to what we converse with into their own deployment scenarios made of imaginary or real plots, they seem to be all provided of some at-first unseen story asking to be told, so that there is an interest in seeking out their voice, interest in carving out their subtle carryings-on — all this combined with the inward anatomy of the gesture(s) they depict.
If I had to define in brief words which impressions Miki’s photos provide me the most, I would certainly bet on a single one made of a single metaphor: her pictures feel like a delicate dance. The observer is invited to it, as if unfolding images inside paths, such as notes inside harmonies. There is a kind of delicate movement. And the act of looking itself — enveloped in its continuity and tuned to the vibrations of sounds deprived of limiting steps-by — denies the fixity and fixatedness of the sound being intonated and conducting the dancers to a delicate, slow motion into its enigmas — those Miki's narrative images…