{"id":2373,"date":"2010-07-15T00:00:00","date_gmt":"2010-07-15T00:00:00","guid":{"rendered":"http:\/\/www.foto8.com\/live\/?p=2373"},"modified":"2010-07-15T00:00:00","modified_gmt":"2010-07-15T00:00:00","slug":"in-land-out-cast","status":"publish","type":"post","link":"https:\/\/www.foto8.com\/live\/in-land-out-cast\/","title":{"rendered":"In-Land, Out-Cast"},"content":{"rendered":"
\"pinfat_280\"In-Land: the interior, the terrain within, inside, land-locked, enclosed, surrounded.<\/p>\n

Out-Cast: exorcised, thrown outwards, expressed, banished, ostracised, unable to return, excluded, thrown away.<\/p>\n

This series isn\u2019t about anything in particular other than a way of seeing. There\u2019s no point to it, no grandiose issue extolled through its images. It\u2019s not \u2018complete\u2019, finished, concluded \u2013 it\u2019s still \u2018proto\u2019. It\u2019s a non-linear, circuitous meandering that follows some of my everyday footsteps in and around Bangkok. <\/p>\n

These images, like rough sketches or scribbled notes, are just a few ideas that have been rattling around  in my mind for some time. Assembling them together like this gives them \u2018form\u2019 or \u2018body\u2019, in the way a ghost would acquire physical shape if it were to wear a jacket. Inside the jacket \u2013 at least to our eyes \u2013 is thin air, a \u2018nothing\u2019, except perhaps an invisible energy. \u2018In-Land Out-Cast\u2019 explores the city as metaphor, as an idea, a perception, a way of seeing, a vision, a blindness.<\/p>\n

Photographed in October 2009, this is a work in progress using 135mm and 120mm film. It is an extension of previous work, particularly \u2018Ya Ba\u2019 (2004 – published in V6N1 of 8 Magazine<\/a>) where I began to perceive the city as allegory, as film-noir or fable. At that time, vandalising my 120 film became a highly charged visual imperative that paralleled a frayed state of mind. It relied only on \u2018chance\u2019 and a complete loss of control. The metaphors in this series are very different.<\/p>\n

There\u2019s no space for composition using this \u2018technique\u2019 \u2013 the leaked light, the film burn, like bars on a dungeon door \u2013 dictate all. There\u2019s no (pre) conceived direction, no surety in anything other than the chance encounter, the photographed moment, the emotive. This modus is as much about seeing as it is about not seeing. Most of what I photograph is unprintable due to an excess of resultant film fog on my negatives. It\u2019s all blindly unpredictable.<\/p>\n

I print what \u2018the city\u2019 permits me to, what \u2018chance\u2019 salvages for me from the wreckage.<\/p>\n

\u2018In-Land Out-Cast\u2019 is a type of \u2018psychological thriller\u2019, a cinematic journey into a living necropolis, a derelict interior \u2013 phantasmal, emblematic, broken and concrete-entombed. It transverses a city of \u2018real-fiction\u2019, looped in repetition, inhabited by weighty yet invisible presences, pregnant yet impregnable shadows. Its cast are light torn people, those unsure if they\u2019re male or female, alive or dead, the city\u2019s \u2018spirits\u2019 \u2013 its detritus, its insane, hungry, homeless, ostracised, undefined and unformed \u2013 close ones, unknown ones, ones who come back at you again and again.<\/p>\n

It follows the haunted and the haunting, the dream-busted, the smashed and forlorn through a city built on the blur between this world and the next. A city we die into. Are born out of.<\/p>\n

Olivier Pin-Fat
www.olivierpin-fat.com<\/a><\/p>\n