Al Souza

O.K. Harris Works of Art

Al Souza comes across as a comparative anatomist of the differences between the photographed motif and the actual motif. That is to say, he investigates the unexpectedly shocking contradictions of reality that photographic form exhibits. And he does this by recourse to the simpleminded scheme of building compartmented boxes juxtaposing, for instance, color photographs of miniature roses with the roses themselves. One may, if one wishes, test the accuracy of the color printing process at firsthand. But this perfectly legitimate activity is deceiving: time has changed the color, and enfeebled the pigment of the subject. We have a double-take because the real rose is dried up, a withered, dead thing that would crumble at the touch, while its photograph renders a vibrant, dew-flecked, soft-petaled plant that looks just recently pulled from the earth. In other words, Souza isolates for us,

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