A Quote by Michael Kenna

In my photographic work I'm generally attracted to places that contain memories, history, atmospheres and stories. I'm interested in the places where people have lived, worked and played. I look for traces of the past, visual fingerprints, evidence of activities - they fire my imagination and connect into my own personal experiences. Using the analogy of the theater, I would say that I like to photograph the empty stage, before or after the performance, even in between acts. I love the atmosphere of anticipation, the feeling in the air that events have happened, or will happen soon.
I enjoy places that have mystery and atmosphere, perhaps a patina of age, a suggestion rather than a description, a question or two. I look for memories, traces, evidence of the human interaction with the landscape. Sometimes I photograph pure nature, sometimes urban structures.
The undiscovered places that are interesting to me are these places that contain bits of our disappearing history, like a ghost town.
The photographer Ruth Bernhard used to tell me that this is like asking somebody how they evolved their signature. It is not something I've ever worked on consciously. I think style is just the end result of personal experience. It would be problematic for me to photograph in another style. I'm drawn to places and subject matter that have personal connections for me and I photograph in a way that seems right. Where does it all come from, who knows?
It is clearly not the journey for everyone. People succeed in as many ways as there are people. Some can be completely fulfilled with destinations that are much closer to home and more comfortable. But if you long to keep going, then I hope you are able to follow my lead to the places I have gone. To within a whisper of your own personal perfection. To places that are sweeter because you worked so hard to arrive there. To places at the very edge of your dreams.
Our lives are structured by our memories of events. Event X happened just before the big Paris vacation. I was doing Y in the first summer after I learned to drive. Z happened the weekend after I landed my first job. We remember events by positioning them in time relative to other events.
Wherefore also these Kinds [elements] occupied different places even before the universe was organised and generated out of them. Before that time, in truth, all these were in a state devoid of reason or measure, but when the work of setting in order this Universe was being undertaken, fire and water and earth and air, although possessing some traces of their known nature, were yet disposed as everything is likely to be in the absence of God; and inasmuch as this was then their natural condition, God began by first marking them out into shapes by means of forms and numbers.
I'm sure that growing up in the Midwest played a role in my chronic escapism. In fact, before I lived in France, I lived in Japan, England, and Bulgaria. I was determined to experience other places and cultures, particularly because I had the perception that I'd been cut off from these experiences as a child.
Boys, particularly, like stories where they can have images in their imagination, where they can go to scary places and experiment with what can happen.
I guess there's only two possible places ideas can come from. One is the outside: everything that happens to you and everything that you do in life. And the other is the inside part: your own personality and imagination, and no two people are alike, like fingerprints.
Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.
If you are to do justice to [the great roles], you must fly up to them - rather than dragging them down to you - by expanding your range of knowledge and strengthening your imagination. Your imagination must become as real to you as your memories and feelings. What you take into yourself about psychology, politics, sociology, history and so on, will allow you to reach places in yourself you didn't know existed. No line, no image, no thought can be left general. Each must be specific and personal. Your work is not complete until this is so.
Love is all around you like the air and is the very breath of your being. But you cannot know it, feel its unfeeling touch, until you pause in your busy-ness, are still and poised and empty of your wanting and desiring. When at rest the air is easily offended and will flee even from the fanning of a leaf, as love flees from the first thought. But when the air or love moves of its own accord it is a hurricane that drives all before it.
It is my belief that exciting things happen when a variety of overlapping activities designed for all people-the old and the young, the blue and white collar, the local inhabitant and the visitor, different activities for different occasions-meet in a flexible environment, opening up the possibility of interaction outside the confines of institutional limits. When this takes place, deprived areas welcome dynamic places for those who live, work and visit; places where all can participate, rather than less or more beautiful ghettos.
Those shining stars, he liked to point out, were one of the special treats for people like us who lived out in the wilderness. Rich city folks, he'd say, lived in fancy apartments, but their air was so polluted they couldn't even see the stars. We'd have to be out of our minds to want to trade places with any of them.
I've been to unpretty places with the roles I've played, and I'm attracted to reckless abandon. I like being taken to the edge of my own abyss.
My books are written from personal experience, from memories, and from stories that come to me from all places.
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