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Judy Linn Text

Artist statement, June 8, 2005


Words and pictures by nature don’t agree. There is no good fit. I can’t say what I do or have done, but I know what I want, what I try to do. I can tell how I aim. I can’t say how I land.

When I began, I hated what I couldn’t control—all the annoying things I couldn’t see in the moment of taking a photograph, the crazy stuff that jumps into the edges of pictures. Now I like that part the best. But I do want to be accurate, although “accurate” is a slippery word. I don’t mean a quality of photography. I think Cezanne, Ingres, and de Kooning are all accurate. I don’t think Ansel Adams is accurate. If you look at a Hiroshige woodcut of a whirlpool, you figure it is a fanciful rendition because how accurate can a woodcut be? But if you go to see the whirlpool, you see that he is telling you exactly what it looks like.

I think when someone first looks at a photograph they automatically wonder, “What is it?” I want a photograph that easily answers that question. I want to be extremely obvious; obfuscation is bad grammar. Hopefully, the two-dimensional arrangements of shapes on the paper will be as lively and interesting as the three-dimensional world trapped inside the photograph. There should also be something there you haven’t seen before. Something should happen in the act of looking.

I want a photograph that makes me aware of what is physically in front of me, a photograph that gives me the pleasure of getting lost. It is like asking yourself a joke: not really knowing what the answer is, giving up, and then seeing the punch line and really laughing.

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