About the “Window” Project
Windows are so much parts of the world we live in they’ve become to us much like the air we breathe. They are so common they are like grains of sand on a beach. They are, indeed, in so many ways, invisible to us even beyond their own clarity. We pass them by. We notice them. But do we really see them, and if we do see them, do we feel right in actually looking at them? This is the question that I began this project with, and my experience in filming has borne out the idea that sometimes it is totally appropriate to look, and other times there is that unspoken unacknowledged social taboo that tells us that to take the time to look is somehow - wrong. This sense of doing something that felt voyeuristic came mostly at night when the reversal of the light balance caused the interiors to shine out as displays to the world, and those people safe inside had no idea that anyone might be looking in.
Upon hearing about this project in its earliest conceptual stage my friend Gary described his experience of looking into a window located in a heavily industrial section of London. He said that it was late morning on a weekend, and that the normally busy streets were deserted. The street was lined with row upon row of old warehouses. He happened to notice that one of the typically shuttered windows was open. As he walked along he couldn't help but to look in, and then he quickly looked away. Deep inside the darkened interior of that warehouse was a single battered wooden chair bathed perfectly in a shaft of sun from a skylight overhead. Draped over the chair, shining in that yellow light, was a silken negligee. It was light blue in color and trimmed in a delicate lace. Gary felt quite embarrassed. He felt that he shouldn't have looked; he shouldn't have seen... that perhaps he had invaded someone's privacy. At the same time he wished he could go back and have another look, but of course he did not. I wonder, does everyone have an experience similar to Gary’s? I know I do. Yes, I look. To me it seems natural. Gary couldn't help what he saw. After all, the window was open.
A few days after beginning this project I looked up the definition of “window” and found much to my surprise that the available descriptions are somewhat lacking, in that they rely almost exclusively on the idea that a window is something “that has been constructed by humans to allow light in and a view out.” Further, many of the descriptions actually contained the word window to describe what a window is. Obviously, there is room for me to interpret what these things are. I would define a window as: a break in a wall - of any kind - through which what lies beyond can be seen.
Artist Statement
We live in a world that, by the nature and complexity of life itself, hides the details of the everyday. Many religious sects claim that we all live in a kind of trance, or a dream, and that we cannot see what is truly real because we are dazzled by that dream. More than that, I believe that we are so consistently dazzled that even the dream becomes ordinary, and we stop noticing the details. What we see or experience, moment to moment, from the time of our birth, becomes in a sense invisible to us; it becomes as it were, the every day. It is through this consideration that my work evolves.
At about the age of nine I began collecting rocks. In the early years of my obsession I would chose rocks that were beautiful: crystalline forms, polished stones, perfectly enhanced from a tumbler, and stones that glittered and glistened when held to the light. However, as time went on and my collection grew, I also began to include stones for their shapes and individual qualities that made them stand out for unknown, indescribable reasons. Those rocks do not have any discernable value to other rock collectors, nor do I even necessarily know what kind of geological material they are composed of. I do not know what makes them special to me, but the fact is they are, and I value them as much as even my prized and rare piece of petrified driftwood. So then, a rock that resembles a human nose or hand, or a smooth white gull-shaped rock that reminds me of the place in the world where I found it, is a treasure.
As an artist then, I view the world around me as a place where, for reasons unknown, certain things stand out simply because - they do. I cannot help but to point at these things, not because they are in any way special, but because I notice them even as they are “invisible,” as an aspect of their absolute normality. This who I am, and at the same time, it is what I do. I cannot help it anymore than I can help breathing. Sometimes, people around me have the impression that I am easily distracted. For my part however, I would describe this aspect of my personality as being easily attracted. I am attracted to the details.
Biography
Jonathan has been a working artist for all of his adult life. His bronze works and mirror sculptures were sold exclusively through several high-end galleries in New Mexico including Brandywine, Los Llanos, and One Hundred Eleven. His works were also displayed prominently at several Shidoni Foundry events. He slowly transitioned into photographic arts after purchasing his first 35mm single lens reflex camera. Although that purchase was intended so that he might properly photograph his sculptures, the camera soon became his passion. One of his first photos was the winner of the New Mexico first place award in the Kodak International Snapshot Competition. The photo also received a National Award of Merit. The die was cast, so to speak, in photographic imagery, and sculptural arts were left behind. More unexpected changes occurred when his friend, playwright Tara Hein, asked if he would be interested in co-writing and directing a soap opera for the stage. Together they wrote, produced and directed 14 episodes of “Family Values,” which played to SRO audiences for 14 weeks, and then ran for another 14 weeks in “reruns.” Included in these productions were novel, live commercial spots scripted by Jon and Tara and purchased by local businesses. The success of that initial writing experience was life changing. Jon continued to write scripts for the stage, and then for the screen. It was a natural progression that his writing and his love of imagery could be perfectly combined in producing his own works. With that in mind Jon, his wife, (and leading lady) actress Georgina Young, and their young son Josh (the future rock star) moved to New York to pursue bigger dreams. He received his Bachelors of Science in January of ’07 and his Masters of Media Arts in May of 2010 both from the New School. His various media driven projects can be viewed on his self-designed production company website http://www.ltbprod.com/Cinema/cinema.html