Known as ‘The Esther Grouping’, this series of work was recently put on display in MOMA’s photography collection. Infusing the seductive language of film and advertising with a touch of sly conceptualism, the works explore the relationship between straight and constructed photograph, image and picture. Each work is followed by a professional critique.
“This photo portrays the unresolved tension of the camera as it is both a mechanical and scientific too. Within it, the natural desire to use it for ideological hero worship and the perpetuation of a ‘myth’ based reality.” – Evan Walters, photographer ‘Monde du Suite’ Magazine.
“It is a treatise on restraint and desire. Within each pixel is the motivation to escape, but the wherewithal to hold on to safety; to be bound within ourselves. Chamber of secrets? I say NAY! Chamber or secrets.” Emily Mika Constantine, ‘On Using A Camera’.
“Chaste. Hidden. Remarkable in its contrast, ‘The Fables of Time’ shows us what we do not wish to see, but what we already know. As if magic had a baby with the future.” Enrique, ‘Inside the Photographer’ Random House 1987.
“The face of a hero? I say this is the face of heroes. As subtle as a hidden whisper, this photo is all thriller, no filling. I will never be held the same way again.” Stephen Andronicus Marx-Hurley-Winthrop, The Drayton Valley Examiner.
“When asked the question ‘who are we?’ by my students I tend to refer to Mirror Envy Cipher. This photo is a journey into the soul of the mind if the mind were a lost and scared Andalusian Stallion. Who are we? Well, who we aren’t of course.” Prof. Maj. Gen. Sonja Folksman, 13th Batallion, Photography Division.
The Trent Wilkie 
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