Lina Scheyniusmariacarla (2008)

Remember how from the point you started to learn long division onward, your teachers were always admonishing you to show your work!?

Up to that point the right answer has been more than enough but increasingly how you arrived at the answer becomes just as if not more important.

Lina Scheynius–more than any other photographer I can think of–shows her work.

To illustrate what I mean let me draw your attention to this heart-warming story about Peyton Thomas and what happened when her mother took her to skateboard at a local skate park.

The eye which lights on the figures and compositions that Scheynius chooses demonstrates a curiosity–nervous and often fumbling but completely engaged. When she captures an image, Scheynius is surprisingly like the girl in this story–she wants to skate but the circumstances surrounding it and her lack of confidence are all obstacles.

As such her work often shows a almost careless whimsy with regards to composition. For example: the above image doesn’t logically break down into any sort of sensible geometric proof. It’s literally about the diagonal (top right to bottom left angle of the light, interplay between the pattern/color of the dress against the carpet. Like most of her work–the colors are muted and muddy in an effort to render light the central focus.

Further, to me it feels as if the instinct of the image maker is to present Mariacarla in context. Due to this instinct, the curtain fringe and whatever the dark object pushes in along the top, slightly right of center frame edge.

In the end, it’s these two likely circumstantial elements that unify the image. And here is where the eye that edits the resulting images is comparable to Ryan Carney in the story about the little girl and her skateboard. Lina as editor acknowledges the wonderment but applies a critical eye. The accidental embellishments serve as a means of rendering the wonder impetus the sparked the shutter triggering legible to a viewer.

There are scads of photographers whose work functions as a primer in how to read images. But Scheynius, in the way she reflexive makes photos inextricably tied up in her process, is trying to show us how to better see wonder in the world around us.

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