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Phil Douglis | all galleries >> Galleries >> Gallery Thirty Nine: Juxtaposition – compare and contrast for meaning > Golden bottle, South Street, New York City, 2006
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08-AUG-2006

Golden bottle, South Street, New York City, 2006

It was a simple sign with no words – only a large bottle hanging over the street to mark the shop of a wine merchant. I juxtaposed that golden bottle with the dark green doors and pillars at the entrance to the shop – comparing light to dark, and gold to green. By juxtaposing objects of opposite brightness and colors, we express maximum contrast to draw the eye and stir the mind. The fact that those dark doors have bright brass doorknobs only enhances the contrast. This sign is a throwback to another time when literacy was rare and merchants used signs showing exactly what they sold, often in stylized form such as this. South Street is one of Manhattan’s most historic neighborhoods. Some of its buildings are nearly 200 years old. This image, because of its powerful juxtapositions, helps to tell its story.

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Phil Douglis17-Aug-2006 03:00
Hi again, Ceci. I am always moved when my images trigger feelings of any kind. In your case they are very emotional and are based, as you say, on who you are, and where you have been, more than on my image itself. The image of the bottle itself is simply acting as a trigger for your imagination and emotions. Everything here comes from you, not the image. You give us a vivid example of how expressive photography, and indeed any art form, works best. I won't get into the signficant historical and political points you raise in your response here. They are better discussed in other forums. However, I do respect all of these thoughts, and even more importantly, I respect your willingness to offer us such an open, spontaneous response to this image. Thank you, Ceci.
Guest 17-Aug-2006 02:40
Thank you Phil for your thoughtful and encouraging reply to my rather strange interpretation of your image...I am noticing this tendency of feeling the "historical ravages of barbarism and elitism" more in myself as I view some of your multi-layered pictures -- not that this is what the pictures are saying. I believe we all have eidetic pictures within us, and am reminded symbolically of parts of my own past, my emotional life, and perhaps past lives in various visual juxtapositions. in fact, I've never really responded to photographs verbally the way I am doing with your work, and it amazes me, too. The world is still rife with barbaric cruelty and insufferable elitism, as well as arrogance, bigotry, prejudice -- no matter how civilized we believe we are. America is a young land, composed of a mix of the Old and New World and the Far and Middle East, jostling together as the Polar caps melt, and not always happily. We have tons of recorded hindsight to tell us how things used to be, and for the US, it was just yesterday. I so appreciate this forum -- and such an open and gifted world traveler like you -- in which to kick around what "comes burbling up."
Phil Douglis17-Aug-2006 00:04
I enjoy your comments immensely, Ceci. I find it fascinating how you often manage to find inferences of inequities in my imagery. In this case, what I intend as a lovely photo of an old sign juxtaposed with a handsome old building somehow morphs into a metaphor for hanging and the arrogance of privilege in your fertile imagination. This tells me as much about that imagination as it does about my picture. You obviously relate very strongly to the historical ravages of barbarism and elitism, so much so that you find elements of those things in what I intend as a perfectly innocent image. I often say we are what we photograph and photograph what we are. In many ways, this also holds true for finding meaning in pictures. We bring our own baggage to bear on the images we view and accordingly see echoes of that baggage in them. I respect that. In fact, it is the essence of expression -- to ignite the personal passions of a viewer is always both a challenge and a delight. I may not see the same things in this image that you do, Ceci, but I am thrilled that you are imaginative enough to make this image so much a part of yourself.
Guest 16-Aug-2006 23:45
What a stunning image, with its two rich colors and the gleaming bottle -- the graphic in a world before words became ubiquitous in advertising! The dangling bottle also suggests perfectly a time when people were "hung by the neck till dead" as the most popular -- and perhaps the only -- form of capital punishment, when law and order was in its infancy, and humankind was more primitive. These solid doors, with their metal knobs, speak of power and prestige gained and held, a barrier to the uneducated and down-trodden, the castle door protecting those wealthy enough to have polished brass fixings.
Phil Douglis16-Aug-2006 21:05
Thanks, Ai Li, for seeing the timelessness in this bottle and its contrasting surroundings. It has certainly stirred your imagination. It is such a simple sign, yet so eloquent in that simplicity. I don't know if this particular sign has been hanging there for 100 years or not, but I am sure it is historically accurate. It would be nice if it really was an original, and had been painted time and time again over the years, building, as you imagine here, its own history, coat by coat and layer by layer.
AL16-Aug-2006 07:46
Hanging on, through the test of time. It's indeed a strong contrast, as I can't stop staring at the golden bottle, wondering about its never-ending story over time. Even the color of the bottle might have been changed or re-painted many times, each paint coat representing a layer of its history, its sales and its patrons.
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