Some thoughts on symmetry.

Initial ideas for a project are more often than not sparked by a single image or inspiration. In this case that is no different, except in this instance the original idea eludes me. Whether or not the seedling will return is of little consequence as the beginnings of a project are formulated. Perhaps it was a move away from asymmetrical landscape photography based on common laws of two thirds framing and a reluctance to centre anything, horizon or subject. Perhaps the inspiration came from the aesthetic qualities attached to the everyday encounters of symmetrical beauty that are too often passed as mundane scenes. Perhaps it is a reflection of a mood that is searching for a little piece of infrastructural melancholy, a sense of order inspired by linear designs. Passed days living in a city may explain this, the hinterland and expansive beaches of the northern NSW coast are thankfully devoid of rampant industrialisation. Aesthetics, yearnings and genre shifts aside, there had been enough of digital for a while. Out with the D and in with the SLR, sensia 100 speed (not the desired roll but the film man had no other) and cross processed slide scans prevail. Greens, bleeding and overexposure are constant themes.


Essentially the concept of symmetry is a complex issue. It is in relation to the image that we will focus. Symmetry permeates society, science, physics, art, design, nature and etceteras. A constant and reoccurring discussion seeks to contradict the notion of symmetry, and that is that the appearance is only 'skin deep'. Example. Take the quintessential tourist epitome that is the Taj Mahal. Construction was completed in 1653 after Mughal boss cocky Shah Jahan spent several years preparing the ultimate homage to his late wife Mumtaz Mahal. The tribute took the form of a grandiose mausoleum that we know as the Taj Mahal, a deserved parting gift for the Indian Empress that gave birth to thirteen children.



Now if I was any kind of camera savvy rubbernecked tourist I'd be standing at the end of Jahan's sunken-pool boulevard, in an attempt to line myself up, straight as a gun barrel mind you, with the wee little bushes framing the Ol mighty Taj at the end of the straight. I ain't never been to Jahan's ode to Mumtaz, however I can assure you I couldn't resist taking that cliche snap of the palace. Don't get me wrong, I'd 'expertly' juxtapose an Indian midget vendor into the frame so avant garde Flickr peers can distinguish me snap from 'common art' and muse of quasi revolutions in photography.

'LOL' 'sooooo' not true 'wtf'.



Seems we've deviated from the topic at hand. Returning to the construction of the symmetrical image. First impressions of the image would show the boulevard stretching away to the pinnacle of Taj M at the end of the ordained thoroughfare. There would appear to be little change in the image if I were to hold a mirror up, splitting and reflecting the other half of the picture. However if we were to slip the image into Photoshop and eagerly depress the zoom slider it would become apparent that inconsistencies are rife, the initial symmetry is lost. Or as aforementioned, skin deep. Take the human face, a shopping aisle, a butterfly, take whatever you want and your position of perspective and view defines the aesthetic and clarity of that symmetry. The human face and the butterfly appear symmetrical, however obvious features detract from this position. It is this process of perspective, view, passing encounters and the noticed linear appeal that gave me the initial idea for the brief photo essay attached. So in conclusion, the seedling did return. Yes, one can pick and say “Where does the symmetry exist in that image? Here, here and here is proof that this piece ain't near symmetrical! And here again!”. These photos are designed to show the inspiration of symmetry, not the quest of obtaining the ultimately precise symmetrical image devoid of faults and discrepancies. Thankyou - Alasdair Shruman



:: Photos - Alasdair Shurman