Can you explain how you devised the project ‘Inside Looking Out’?
DH: From the outset of this project I consciously decided I was going to venture into the city in hopes of finding uncommon perspectives reflecting how we live in urban metropolises. I realised early on everybody that enters the city, tends to find themselves on the high street window shopping – gazing longingly into shop windows and at manikins.
So I thought what if it I could reverse the familiar gaze of looking into shop windows from the other side. I wanted to reverse this viewing process and make the store window, manikins, promenade, and passer-bys the focus of my image sequence.
How have the images been framed? What compositional rules did you chose?
DH: These photographs are quite strange and abstract but I liked this quality about them - new perspectives should not be too clear or figurative. The photographs almost seem to capture the sight line or perspective of the manikins. In the Glocal project, I liked the idea I could also play with the concepts of stillness and unusual view points.
Again its odd and unsettling to capture the manikins’ sight lines as they peer out onto the world know will not know or realise….I realise I am personifying these figures but I find it interesting since their gaze is a point of position the viewer will never occupy.
How do you view capturing different views on looking on the outside-inside?
DH: I was surprised in some of the more abstract photographs the buildings across the street became re
flected and part of the window displays. By allowing things outside the photographic frame to enter it, new perspectives entered the scene that I had not anticipated.....again I feel a little bit like French photographers Eugene Atget or Doisneau a purveyor capturing the changing city from both the in and outside.
Image left: Eugene Atget: Avenue des Gobelins (before 1926)
George Eastman House Collection; below: Sidelong glance
Robert Doisneau, 1948 © Estate of Robert Doisneau
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