'If to be human is to suffer, we are not human to suffer only'
(Seferis, 'An Old Man on the River-Bank')

`Leaving aside the mysteries and the inequities of human talent, brains, taste, and reputations, the matter of art in photography may come down to this: it is the capture and projection of the delights of seeing; it is the defining of observation full and felt.’ (Walker Evans)

Reading Roger Grenier's A Box of Photographs (2013) [2010], I discover that `Ernst Leitz, the head of the Leica firm, was working to save Jewish lives. He hired Jews and then sent them, equipped with Leicas, on business trips to the United States. The New York branch took care of them. Ernst Leitz started doing this as soon as the Nazis - the people he called “the brown monkeys” - came to power. But he had to stop his rescue work when war was declared and the borders closed. The explanation for his behaviour is very simple: he hated to see people suffer.’

We’ve been locked in the world’s box, 
love sets us free, time kills us.

​From Adam Zagajewski’s poem, ‘Little Waltz’.

If you don't love you don't bother to look or listen. 

'I love photographs because they give flesh to shadows. And this prevents them from disintegrating and disappearing right away' (Kiki Dimoula).

The narrator of Chris Marker’s 1983 film, Sans Soleil speaks about how a `train inhabited by sleeping people puts together all the fragments of dreams, makes a single film of them—the ultimate film. The tickets from the automatic dispenser grant admission to the show.’


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Ideally, an image should set the viewer dreaming.