In my resistance to transition from film to digital photography, I discovered a compromise in a corner of my studio closet. An obsolete professional instant camera replete with bellows for effect and manual F64 aperture for long exposures enabled tactility with film and emulsion and a singular print. This process is itself relegated to the past, uniquely suited to my ongoing investigation of the past to identify its traces in the present.
In the Spring of 2019, facing personal challenges of uncertain outcome, I begin photographing myself in direct sunlight near windows, open doorways, and outdoors near surface contours where light flooded my body. I seek comfort in light in passages between rooms of my house and in surrounding nature. In a meditative state, I count long estimated exposures on bulb shutter mode of an obsolete instant camera with expired film. I find myself experiencing, and attempting to portray the significance of a room in an encounter with interior emotional and psychological space.
Most of my memories of early life are lived moments in rooms of a house and its natural surroundings. The architecture itself resonates deeply with the relationships, emotions and words spoken in it over time. I embody these spaces and time for the venture out into the world. In this series I move through new spaces of rooms and surroundings in the visual context and texture of introspection; recognizing, anticipating, and employing the light beam before it vanishes to learn what I never knew about myself. Engaging the photograph’s magical facility as witness to time and past reality allows me to see myself continually evolving while staying the same, a ghost of previous selves. The spaces of known architecture are integral to my sense of self through time and change, and the flow of my life is forever a rhythm between home and away. My intent is that these images set the stage for similar introspective contemplation by the viewer.
"Cindy Konits’ images are of the skin as much as of the eye, of imagination and fantasy as much as the viewer’s sense of reality...These images have an echo and they are heard and touched as much as perceived by the eye. The incapacity of vision activates the other senses; we do not “see” the world, we sense it through our sense of existence. We cannot see the world as we are inside it."
(Juhani Pallasmaa, "TORSOS IN SPACE, LIGHT AND TIME - the Polaroid Images of Cindy Konits)
"With her photographs, Cindy Konits marks a new direction in photography, which, in the wake of philosophers of life and existentialists, could be called a kind of existential documentary. The subject of the photographs is all of us to whom the photographer forms a bridge to open the time planes of past-present-future."
(Borbala Jasz, art historian and philosopher of art, researcher, assistant professor Budapest University of Technology and Economics)
All Images: Archival Pigment Prints, 15.5"x20"
Cindy Konits 2022