Posted on April 22, 2012 by Jake Liberatore
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……….Every photograph captures the image of people, places, or things; forever sealing that which could otherwise be heard and not seen in a visible entity. Although photographs may distort what really existed in the brief moment of exposure, rarely do they fail to provide the belief that whatever scene is captured on film truly did exist in some form. As Susan Sontag, legendary writer, On Photography wrote, “whatever the limitations or pretentions of the individual photographer, a photograph — any photograph — seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects.” Indeed, there is a prevailing thought that photos capture reality in a unbiased way, but photographers have as much room for interpretation as do conventional visual artists. The ambiguity in every photograph grants it meaning, and therein lies it’s message.
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This pair of photographs taken at Mt. Laurel cemetery in Philadelphia, ostensibly illustrates the slow decay of man’s once beautiful, yet humble tribute to the dead. The faces of the once intricately detailed statues, worn down throughout the decades to almost unrecognizable, half-human forms, project from blurred backgrounds of leafless trees. While a viewer could reasonably interpret the supposed bleakness of the photographs as a projection of malaise upon man’s all too obvious mortality, the intent of the pair was to contrast such mortality with the only thing that is eternal: the afterlife. Without any indication or suggestion of what characterizes an afterlife, the images of the statues represent an omnipresent watchful eye on the living from the dead; a guide through life, which is simultaneously the longest thing we ever experience and yet an insignificant grain in the sands of time.
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About The Author: Jake Liberatore is a sophomore studying Engineering at the University of Pennsylvania. Class of 2014.









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