looking at one

notice how the outline on the floor is ambigiuous. it could be a stain, an area covered by furniture. klich's wink here is that he wipes away the dust from the red drawer bringing a deep blood red into the composition and allowing us to believe that shape must have been made from a body bleeding out on the floor.

kent klich shows us gaza with a sly grin

taken amid the still smoldering ruins of homes in gaza, klich's work is overwhelmed with a sense of absence and destruction that is perhaps becoming cliche for contemporary photographers. but side glances and underhanded winks in the direction of death distinguish the images from other works in the same genre. the subtle elevation of well executed executions to a level of simple beauty is uncomfortable and yet enticing. because death is only hinted and pointed to with a sly nod of the head, we are compelled to search for it. by partaking in this, we parallel the agents of violence instead of the victims. a situation that is highly interesting given the silent hand of american complacency in isreal's actions.

fire and marble

the persians have inflamed the city. people are always asking if athens is in chaos. it wasn't before. something really snapped here. it must have been a predetermined heightening of the intensity. more protests in 2 hours. we'll see if the deaths in the bank cool their jets.

tashes

proof that that nothing is classic. what was once that is now this.

by alan powdrill