Bill Sosin is featured in our summer exhibition
New Works by Gallery Artists, currently on view through August 31st.
View more of his work here.
What began as a spontaneous shot taken whimsically through the car windshield on a rainy day in Chicago expanded into an ongoing investigation into ephemeral aspects of the city. Suddenly, impressionistic umbrella studies, images of shadowy smokers exiled from non-smoking office buildings, figures emerging from arcades of neon, vehicles engulfed in avalanches of snow, and wandering, isolated silhouettes reveal something about the irrevocable influence of the elements and the paradoxical loneliness of the metropolis.
A while back, I ran across some negatives I shot from my car in the old film days. I was intrigued by them and began photographing from inside my car again. Driving around the city in a downpour, I had glazed over momentarily at a stop light as the droplets of rain gathered on the windshield and the chromium vapor of the streetlamps blurred behind them. I let the cinema window of the car become obscured with the pebbles of water before photographing them with my four mega pixel point-and-shoot. I began to repeat this process whenever circumstances allowed, ultimately taking more serious shots with a larger 12.3 mega pixel digital camera.
Generally, the texture of the precipitation is kept in focus, and the activity in the city streets is set in shallow focus behind this. The pure refractions of light are controlled by the lens choice, focus, and exposure, which are then blurred into kaleidoscopes or minimized to retain narrative detail. I search for different colorations, shooting at various times of day when the hue of the sky can contribute to the tableau. What started haphazardly became an obsession, and I have now captured hundred of these images.