PLACE FOR DREAMS
2001 - 2006
Collection of works Place for Dream seems endless because works represent a peculiar diary where the main role is provided to self-portraits and objects that lead their silent existence and witness about human touch. Photographs were taken in places where I had been settled from 2001 to 2006.
© Alnis Stakle
Dreams come in many sizes and range in their distance from us. They have that wonderful existence within and without us, surrounding both our consciousness and unconsciousness in what is now what might be. For some a dream might be of epic proportion spanning out to the edges of miracle, lighting up the world with hope and maintaining a desire for something otherworldly. For others dreams might be that the house they live in will be a happy one. Still others might dream of a sunny weekend or the perfect person with whom to spend the rest of their lives. In any case, as we drift into those realms, we can expect just about anything.
What's curious about this infinite playing field of dreams is that once the word "dreams" is invoked a myriad of meanings and associations begin flying about like butterflies on a warm day in Spring. Alnis Stakle's use of the word sets the stage for an ironic platform for his images. They are not dreams, but a place for dreams. That, at least, is how they may be classified at first.
Stakle finds his immediate surroundings and himself as a place for dreams. The photographs range from a far off skyscape to still lives of table tops, ashtrays, ironing boards to self-portraits. When looking at the photographs, we feel a proximity and intimacy to Stakle. He is revealing what is immediately around him, whether composed by him or by nature or by his own whim. But in short, whatever he can see, whatever sparks his interest, these are a place for dreams.
...His love for a table top full of half eaten food is juxtaposed to its simple beauty, its natural composition seen from an angel, lit by daylight, and begging the viewer to consider the world just off its edges. Similarly, the world beyond the glow of a window or in the colored lights behind a screen echo Stakle's proposed theme, that everyplace beckons to be more, searches or aches for a higher, or sensual understanding that transcends the nearby.
Stakle provides us and himself then with a physical encyclopedia or catalog of his physical existence. He builds up a photographic library that he can readily identify. He slowly, consistently creates a representation of those elements or items or places or moments where he may jump off into other areas. A window where he sees a vast open space may mean he feels his humility in the face of such a majestic sky...
© Tyler Whisnand EYEMAZING No. 7 summer 2005, Brains Unlimited BV, Amsterdam, The Netherlands
photographs
Color slides 35mm
2001 - 2006
Collection of works Place for Dream seems endless because works represent a peculiar diary where the main role is provided to self-portraits and objects that lead their silent existence and witness about human touch. Photographs were taken in places where I had been settled from 2001 to 2006.
© Alnis Stakle
Dreams come in many sizes and range in their distance from us. They have that wonderful existence within and without us, surrounding both our consciousness and unconsciousness in what is now what might be. For some a dream might be of epic proportion spanning out to the edges of miracle, lighting up the world with hope and maintaining a desire for something otherworldly. For others dreams might be that the house they live in will be a happy one. Still others might dream of a sunny weekend or the perfect person with whom to spend the rest of their lives. In any case, as we drift into those realms, we can expect just about anything.
What's curious about this infinite playing field of dreams is that once the word "dreams" is invoked a myriad of meanings and associations begin flying about like butterflies on a warm day in Spring. Alnis Stakle's use of the word sets the stage for an ironic platform for his images. They are not dreams, but a place for dreams. That, at least, is how they may be classified at first.
Stakle finds his immediate surroundings and himself as a place for dreams. The photographs range from a far off skyscape to still lives of table tops, ashtrays, ironing boards to self-portraits. When looking at the photographs, we feel a proximity and intimacy to Stakle. He is revealing what is immediately around him, whether composed by him or by nature or by his own whim. But in short, whatever he can see, whatever sparks his interest, these are a place for dreams.
...His love for a table top full of half eaten food is juxtaposed to its simple beauty, its natural composition seen from an angel, lit by daylight, and begging the viewer to consider the world just off its edges. Similarly, the world beyond the glow of a window or in the colored lights behind a screen echo Stakle's proposed theme, that everyplace beckons to be more, searches or aches for a higher, or sensual understanding that transcends the nearby.
Stakle provides us and himself then with a physical encyclopedia or catalog of his physical existence. He builds up a photographic library that he can readily identify. He slowly, consistently creates a representation of those elements or items or places or moments where he may jump off into other areas. A window where he sees a vast open space may mean he feels his humility in the face of such a majestic sky...
© Tyler Whisnand EYEMAZING No. 7 summer 2005, Brains Unlimited BV, Amsterdam, The Netherlands
photographs
Color slides 35mm