Richard Ansett

Jake with a glass of water, 2015 © Richard Ansett @richardansett

The Intentional Object

It is a convention that every thought must contain within it an intention, we must love ‘something’, desire, hate or fear ‘something’; we are accustomed to comprehending feelings through this frame of reference. However, the objects that we should be projecting our feelings towards can be confused, disguised or substituted by more palatable alternatives. The object that, for instance, anger, hate, love is projected towards can feel too dangerous so we can substitute it with another.

Because we feel we must place our emotions ‘somewhere’ we can easily find proxies to escape the intensity of our actual feeling perceived as too painful, risky (or even good). When deploying these engrained tactics of evasion and projection, the ‘source thirst’ will of course never be satiated, whilst that which is being evaded remains unrecognised. Immersion in this cycle is so culturally engrained that the origins of feelings can feel lost and substitutes seem the only normative solution.

But all is not lost, the line is never broken to those feelings we are escaping and that sense that something is not quite right is actually where the hope is. Often treasure is found in the least likely of places and certainly in places we might find difficult to visit.

The conventional capture and reading of the photograph requires a subject or a ‘figure’ from the ‘ground’. We are not fully aware of the forces influencing our choices but inevitably they will define us and how far we are on the journey to self. What we choose to photograph is a document of ourselves only realised in hindsight; the subject of the photograph is not the most interesting object for scrutiny.

#Gestalt #intentionalobject #figureandground #projection #objectivetruth