2. There are quotes from a wide range of
sources attached to the photos. Tell us about
why you chose this format and how you
sourced the quotes.
Sourcing the quotes was easy, using the
Internet. Identifying themes in photographs
and matching the quotes in an effort to allow
them to be more accessible was more
challenging. I wanted people to understand
that photography IS art, urging the viewer to
think about each image, perhaps in a
different light, than what a knee-jerk initial
response might entail.
Nowadays, everyone is a photographer or
thinks they are, visiting tourist spots in any
given city with an iPhone in hand, taking
pictures. It is not that easy if one aspires to
something more than a mere snapshot.
3. Your sense of composition is
exceptional! What is your
background in photography?
I have no ‘formal’ training in
photography, art or anything
else for that matter. But when
I left the States to travel
overland to Asia long ago, I
took a camera with me.. a real
camera .. a Pentax, the type
that I was told journalists used
on dangerous missions where
it might be irreparably
damaged. I took photographs
at that time, very few of which
were ever any good, but a
handful have withstood the
test of time.
I’ve always had an interest in
photography, particularly
images from the past rather
than contemporary images.
When in India, I was always
interested in old photos
depicting the Raj, early views
from the colonial period and
bought those books.
Additionally, I’ve written two
articles for HALI, both featured
on my website, featuring old
photos of Asia taken by S.M.
Dudin in Central Asia and
Antoin Sevruguin in Persia and
those photographers’ stories.
4. How did you go about the work? Were
these random images you came upon or
did the subjects participate in any way.
ALL the photographs I’ve taken in New
Orleans are completely random,
spontaneous shots, taken without the
subject (if there is a person) ever noticing
or aware of my presence. That particular
shot to which you refer is an odd one as I
was walking quickly through the French
Quarter making my way home at the end
of a day and noticed this person from the
back and thought nothing of him. After
passing, I glanced back, noticed his pose,
quickly turned and shot it. Upon reviewing
the image later, I realized the synchronicity
of his necktie and tattoos. Not everything I
shoot is something I am conscious of at the
time, relying upon instincts and the
unerring ability to shoot without thinking
too much. Overthinking can ruin the
spontaneity of the moment.
5. Why did you choose to shoot in B&W?
What is it about us that makes B&W so
captivating? Do we focus on the subject
matter with greater intensity when we
are not distracted with colors?
I shoot with a digital camera and all the
images are initially color. Upon reviewing
them, some shots seem devoid of color
anyway, but the graphics are compelling
enough, so I desaturate the image and
voilà… a B&W image appears that I find
appealing. It has happened that I’ve
miscalculated some shots and reverted to
the color image but only very
occasionally, not often at all. Black and
white photography provides an
understanding of the subject matter
without the distraction of color. Robert
Frank is often quoted re: this
phenomenon and Ted Grant’s
observations, too, are relevant here, as
this woman’s jacket was multi-colored
but she is the focal point of the
photograph, not the color of her clothing.
6. Let’s look at the woman in the photo.
You purposely left her eyes out of the
image. Can you discuss your approach
to the composition of this image?
There is a protocol re: taking
photographs of people – if you use it and
they are recognizable without asking first
for permission - legally they should sign a
waiver. Therefore, it can become
important to maintain the subject’s
anonymity. Which is why many of the
‘people’ shots are cropped as such. But
with that said, cutting out her eyes
accentuates the elegant bone structure of
her face in the fading light and shadows.
It somehow worked in my mind’s eye and
leaves the rest to the imagination. I think
it is important to allow the viewer to use
their imagination – an engaging exercise.
It was taken on the St Charles Ave
streetcar at the end of the day, and the
fading light of a late afternoon was
barely sufficient. With that said, I liked
her dress and the heart shaped pendant
hanging from her neck and the large
earrings. I had NO idea how the photo
would turn out.
7. This photo captures a brief moment of kinetic energy. Was
this a chance photo? How did you decide about cropping the
image?
This image was the result of fleeting moment in time; the word
you used – ‘brief’ – hardly describes it. I spotted these two
people from afar, perhaps more than 120 feet away from
across a wide intersection. I quickly lifted the camera and shot
it, instinctively realizing this embrace would not last. Lowering
the camera to quickly check the result, I glanced up and they
had already parted ways… GONE.
The exposure used to shoot it (I shoot in manual mode at all
times) was not correct (I had no time to make an adjustment)
and the quick motion to raise the camera was hardly complete
when the shutter clicked. It is not as ‘sharp’ an image as one
could hope for and yes.. it is cropped as I was so far away. The
street was non descript, two children lingered nearby (hers, I
presume) but the synchronicity of patterning between the
straps on her dress and the hand bag strung on her shoulder
led me to believe it was worth considering as one to print in
spite of the technical difficulties.
In 2016, I was asked to exhibit photographs taken in India (SF
Tribal Show, “Don’t Miss India”) with antique textiles from the
subcontinent in the entryway of the Festival Pavilion at Fort
Mason. There I met an older gentleman who had donated his
entire photography collection to the Museum of Modern Art in
SF. He introduced himself, we started to chat, after which I
grabbed my iPad to show him some of the New Orleans
images. He lingered over this one, saying he was primarily
attracted to architectural shots, but thought this one
transcended the genre of street photography, i.e. Vivian Maier
among others.
It may be one of the very best shots I’ve ever taken anywhere
at anytime, but knowing how difficult it was to capture
inevitably influences my thoughts.
8. In this photo the main element is the
striped umbrella with its stark contrasts
in B&W, with straight lines joining at
crisp angles. In the background is a
cinder block wall that catches the
similarly sharp-edged shadow of the bus
stop cover under which the woman is
seated. Other than the woman with
umbrella and her backpack, everything
else in the image is composed of straight
lines. How much of this went into your
decisions about composition?
Taken on the last day of one trip to the
city, I found myself wandering down the
street, a late afternoon walk with the sun
nearing the horizon. I saw her at a
distance from across the street, and
given she was not looking at me, I had
time to compose the shot, but truthfully, I
never gave much thought to the use of
straight lines with the more curvilinear
shape of the umbrella.
9. Along with other photos in your book, this
image gives a sense of timelessness- it
could have been shot any time in the past
eighty years. Please comment on this.
That sense of timelessness to which you
refer is accentuated in B&W. In color, her
dress is a shiny, satin like green material
with silver edging as it was St. Patrick’s Day
and she was celebrating. A rare night shot,
as I seldom wander after dark with a
camera in my hands; the crime rate is just
too great to take such risks very often.
That sense of timelessness is also
accentuated by the legs of the man waiting
to cross the street – his pressed, black
slacks seem like a complete throw back,
and leaving us to imagine how he might be
dressed, perhaps with a 40’s style hat on his
head?
10. The quote from Edgar Allen Poe and the image are
both about daydreaming. In recent years,
researchers have determined that daydreaming is
an important activity that often leads to meaningful
insights as the mind is allowed to wander. Did
daydreaming influence your photography?
Wandering the streets of New Orleans is an exercise
in dreaming by day. I meet people, see things and
ultimately photo opportunities present themselves .In
the afterword to the book (“Standing In The Shadows
– New Orleans in Focus”) I address this phenomenon:
“I walk up one street, then down another, for hours
at a time in the course of a typical day, canvassing
entire neighborhoods - scanning, searching, imagining
– and, suddenly, with little to no warning, an
opportunity for a photograph appears, literally out of
thin air. Often, it is merely a matter of fortuitous
timing and, yes… a bit more, but to be in the correct
place at exactly the right moment and, as time stops,
the shutter button clicks and an image is captured.
All, except the sound of that shutter, is surely out of
my control. But is it just plain luck? Or the gift of
discovery that New Orleans bestows upon those who
seek? “
I was wandering, with no agenda, no appointments to
keep or deadlines to meet, no expectations at all. The
aimlessness to my life there lends itself to responding
to the spontaneity and synchronicity of events, the
seemingly random opportunities for a photograph.
Many photographers hit the streets with an agenda,
or will actually wait at a particular spot for a pre-
conceived opportunity but I prefer to wander and be
solely in the present moment.
11. Similar to the image of a seated woman
holding an umbrella, this image is an
explosion of geometric forms in the floor,
step and railing. What draws you to this
theme?
How could I not be attracted to this
geometry, having always been a fan of MC
Escher! But it is not only the eccentric
patterning; it is a relic of an era from the
past, as such tile work is no longer done.
These are old steps; the building was
constructed in 1890 and I am guessing the
tile work dates to the early 20th century. The
crumbling state suggests a long history and,
curiously, neither long time residents nor
other photographers have apparently
noticed them. Locals often ask where it was
taken. Located in a spot that never saw the
direct sun, always remaining in the shade, it
was the primary entrance to the brewery at
one time.
Given the tiles are black and white, shooting
without color was an easy choice. The zig-
zag nature of the steps is feature I
appreciate in textile art as well – think old
Baluch kilims from Sistan.
12. The chandeliers are the focus of the
image, but the most important part of the
composition is the cat, whose gaze draws
the viewer to look upward. Tell us how
this photo came about.
Taken in the early morning on Royal St in
the French Quarter, known for the array of
antique shops primarily located in a two or
three block long stretch; the shop was
closed. No one was around, either walking
on the sidewalk or within the shop, so I
took my time. This first of a series of three
or four but as is often the case, the first
shot was the most successful. Scrawled or
scratched into the glass is the word
“antiques”, misspelled by homeless and
apparently illiterate vagrants who used to
sleep on that section of pavement. The
window has since been repaired, either
replaced or sanded down.
13. In this photo with a theme of old tires, your
sense of geometry is evident. Did your
experience with textile art draw you to the
attraction of geometric forms in city images
like this one?
The geometry of tires is something to which I’ve
always been attracted. I once took a wonderful
shot of a bicycle tire repair shop in India and
since that time, have always kept my eyes open
for similar scenes. In New Orleans and
throughout the South one finds shops owned by
individuals rather than corporate chains, always
unique and very personal. Taken on my first trip
to the city, I subsequently became aware of the
fact no one had apparently ever shot it quite like
this in the past. Soon afterwards, the tires were
removed and the opportunity vanished forever,
as have many other shots that I was fortunate
to capture.
I am unsure if it was my attraction to geometric
form that led me to take this photo. It may have
been the older building with hand made
architectural details and the surreal size of the
largest tire in the foreground. With that said,
there are other images in the book with graphic
geometry directly influenced by an eye for
textile art, mostly architectural details, including
doors and window casings.
14. Your change to color photography was a bit of a visual jolt after
contemplating B&W images. The initial images of writing on an ochre
colored wall in India and a multicolored sign in the Upper 9th Ward
(New Orleans) move the viewer from the grace of B&W into the world
of color.
You subsequently quote Gauguin which speaks to this (“Color! What a
deep and mysterious language, the language of dreams”).
Ultimately, I have tried to explain not only why I like shooting color but
why I like wandering the streets of this very strange American city of
which few have captured my imagination as New Orleans has, a
provincial backwater lost in time. Though the timelessness of the city
might be best expressed in B&W, the colors reflect that omnipresent
connection to the Caribbean, i.e. the manner in which the people
decorate their homes as well as shops and, as explored by historians,
the musical traditions too.
Choosing the covers of the book was an interesting exercise. I wanted
to invite those with a traditional view of art photography into my world,
and feature a B&W photo on the front cover. Photography
traditionalists apparently favor B&W over color. Surprisingly, the book
designer, also a photographer who shoots exclusively in B&W, insisted
she wanted a color photo gracing the front cover but I resisted.
As much as she appreciates the art of B&W, she thinks color
photography may be my ultimate strength as few photographers with
whom she is familiar work effectively in both mediums, a feeling shared
by other professional photographers with whom I’ve communicated
since the book was released in November, 2018.
I spent 16 out of 20 years living in Asia including Afghanistan, Nepal and
India. The vastness of the subcontinent provides an endless subject
source of which I’ve taken great advantage and enjoyed over the years.
Returning to India in 2011 to explore photography provided a natural
place to develop a ‘style’ (if I have one), and subsequently transferred to
how I view New Orleans. Those familiar with those shots I’ve taken in
India often comment on the similarity of these photos but are referring
only to the color photos.
As Rajubhir Singh, an Indian photographer, once wrote – “The eyes of
India only see in color.”
I agree. Bottom line – I’m a ‘color’ person, given my taste in textile art.
15. This composition features the juxtaposition
of another image from India with a New
Orleans composition. This second set
prompts the question of why you chose to
place together images from these widely
separated areas. In these two images, there is
a colorful background with subjects in the
foreground. What were your steps in
composing these images? Were they just
chance?
Both photos were merely chance, nothing
posed or contrived. I had passed by the shop
front in Rameswaram, Tamil Nadu the
previous day with the door closed and had no
idea what the painted designs represented.
The next morning, I passed by on the way to
the bazaar, saw this goat walking with the
doors open, revealing what was inside – fans!
I quickly positioned myself and shot it.
The New Orleans image was taken on a final
morning walk through Tremé before departing
later in the afternoon, a random shot with
someone in front of the painted wall,
conveniently standing with his back to me. I
rarely take shots of faces, even in India, as
portraits are not what I want to look at on my
walls, preferring the mystery of a faceless
person.
16. Featured in this third set of complementary
photographs is a composition of wheels.
There are striking similarities between the
painted wooden wagon wheel in India with
the chrome and red hubcap in the Upper 9th
Ward. The composition of both speaks,
again to your interest in the geometry of
subject material.
I prefer details. The sub title of the book –
New Orleans in Focus – speaks to that. Upon
exhibiting photographs in New Orleans,
people (mostly other photographers) asked
the gallery owner, “How does he see these
things?” I laughed when informed of those
encounters as there is no reasoning involved;
it is what I see.
Removing the setting surrounding a detail
contributes to that sense of timelessness as
well and I am one to enjoy being lost in time,
as per my work with antique textile art and
images from the past, be it western subject
matter or glimpses of Asia.
Re: geometry – undoubtedly my eye for
textile art influences how I view the world,
always in search of salient details upon which
to focus.
17. This image is the only one in this series that has a
quote from you. It reminds me of the concept of
daydreaming that we discussed earlier and of a
quote of yours that I have always associated with
your work in textiles: “It’s all about the color.”
Please discuss. The Gauguin quote I mentioned
speaks to color and dreams. This quote covers both
the idea of color and dreaming, which seem to be
two of your dominant themes.
If the designer had convinced me to feature color on
the book cover, I would have chosen this photograph.
The quote is lifted from a foreword I composed and
seemed best to describe this elegant architectural
detail. The shape of that shadow, if seen in textile art,
would be likened to that of an animal head. The
graceful lines and textured surface caught my
attention, as did the color. This image is not cropped;
it appears exactly as I took it.
Historians, documentarians, museum curators as well
as born-and-raised New Orleanians marvel at how
mere details of their city reveal so much about who
they really are as opposed to how the world at large
generally views the city and its people.
Historically, New Orleans has been an inspiration for
writers, including William Faulkner and Tennessee
Williams to name two and has inspired me to create
prose I’ve never considered possible. Upon reviewing
what I had written for the book, Michael Franses
agreed, commenting that our writing styles for
articles or books about textile art are rarely if ever so
lyrical or poetic. Perhaps it is that lyrical quality of
writing that recalls that theme of dreaming in your
mind?
18. The da Vinci quote refers to the
importance of shadows in art. In this
image, the shadows of the wrought iron
railing share equal value with the railing
itself. Was this your intention?
Taken at the end of a day while waiting for
a crawfish boil on the street to complete
our order, I decided to wander. The light
was perfect and I stumbled across this
scene. Again.. I just took the photograph
without giving it a second thought. Upon
actually printing the image did I see the
illusion of three-dimensional art,
accounting for the title as it appears in the
book – 3D Classic.
Ostensibly a cliché image as everyone takes
photographs of the wrought iron lace that
drapes buildings throughout the French
Quarter and elsewhere. But I have yet to
see one achieve this inescapable quality of
three dimensions, accentuated by the
partially open light blue door on the
balcony. It was an accident; I could not
imagine the result.
19. The Mondrian quote and the image link together to remind
the viewer that the partial image of a door, metal gate,
painted concrete and a strong shadow is much like a
Mondrian composition. These themes are continued in the
image below it
The shadow resembles fertility imagery seen in Central Asian
rugs – a “kotchanak”. The colorful curls of the iron and
carving on the house (and of course, the colors) caught my
eye. Curiously the owner came out as I was evaluating how
to take a shot and introduced myself. She started to do the
same, but then I recognized her – Amanda Shaw, a “fiddle”
player in town. I have since offered her a copy, but with no
response. The Mondrian quote seemed appropriate, as I
have often referred to the relationship of color and space
within the context of textile art.
The second photo (below) was something I spotted at a
distance, took the shot and cropped it down to what you see.
The screen door with the raised red grating is three
dimensional as well, provoking some to assume the print
was doctored, painted to give the appearance of depth. I
had no idea how it would print up and was taken aback at
the results.
Few would understand how old that screen is, but a friend in
town who installed such doors as a youth understood
immediately; they don’t make screen doors like this
anymore!
20. New Orleans is the birthplace of jazz and
Louis Armstrong whose cornet and
trumpet artistry is unmatched.
Photographs with a musical theme in New
Orleans are usually of street performers
but you chose this image of a painted
glass door.
I never take photographs of people
performing (but occasionally their shoes!).
It is too easy, and everyone does it, so why
bother? I know the owner of this bar, a
popular performer in town -Kermit Ruffins.
When planning the book, I solicited him to
write a foreword, but he declined, saying
he has no idea how to write. One
afternoon, I stopped by to say hello and
standing around in the darkened bar with
no people around, I focused on the light
coming through the glass door and took
this shot. Curiously, people had no idea
where it was taken as apparently few ever
took notice of the door from inside, more
often focused on the music or their drinking
companions? But everyone knows what it
looks like from the street!
21. Although the background consists
of brightly colored strips, the man
in the foreground is completely
shadowed. In this image, you
blend color photography with
B&W. Please elaborate.
Taken in Tremé at the Tuba Fats
Park adjacent to the Candlelight
Lounge, I was across the street and
noticed this fellow walking in the
shadows cast by a tree and thought
to capture the image. I saw him in
a darkened profile against the
brightly lit and color background, a
painted fence.
Titled “Profiling” in the book, it is
easy to guess who he might be, his
possible vocation and race. We
often jump to conclusions about
things, and thought to raise that
question, a bit of contemporary
social commentary.
22. The photo seems to show a door, given the
handle on the right. The surface in covered with
blocks of wood in many shapes and colors. The
composition includes heavy shadowing. Please
discuss.
An artisan in Tremé makes these gates and doors,
for himself and for sale to others. This was his
gate, prior to gaining more renown in town.
Many artists live in New Orleans, with a distinct
style. Since this photograph was taken, he has
added more objects to the composition, including
etched slogans and portraits of famous people,
usually civil rights leaders, etc. Somehow the
simplicity as it appears in this photograph is more
pleasing to my eye than the more evolved state in
which it may be viewed today.
I left a note with his kids whom I met one day in
front of the house, with my phone number and
email address but received no response. Upon
discovering the image online, he asked me about
it and whether I had the ‘right’ to reproduce it. I
assured him I had tried to make contact well
before publication and offered him a book as
compensation. He agreed, all was well and I am
sure he was pleased how the photo was titled –
“Mosaic Master”.
23. This deceptively simple scene is
another example of color and
composition.
For no particular reason this
photograph never appeared in
the book, but it continues to be a
favorite among New Orleanians.
Located close to my home in the
7th Ward, I was passing by early
one morning and saw the play of
light and shadow on this colorful
porch. I am guessing it is appeals
to New Orleanians as it depicts a
tranquil presence and colorful
environs characteristic of the
older neighborhoods. I’ve always
liked it in spite (or because?) of
its simplicity.
24. The red flower against a forest
green wall with yellow trim is an
exercise in color contrast. This
seems to be a favorite theme in
your color photography.
Color, color, color… whatever it
takes to get someone’s attention!
It, too, never made it into the
book but might be featured in a
second publication, if and when
that ever happens. Taken in the
early morning of a final day in
the city, I found myself walking
through the 7th Ward towards
home and noticed this brilliant
red flower contrasted with the
brilliant yellow and green house.
It seemed like a good idea at the
time.
25. This is the first of two images in this series with
political undertones, in this example a window
and wall reminiscent of the American flag.
Additionally, the shadow of a wrought iron door
takes center stage. What were your thoughts as
you composed this image?
One of my favorite shots, as people who know me
realize I harbor strong opinions on politics and
more. It was completely intentional, as I knew
what I was looking at in terms of composition and
possible interpretation.
Titled “Behind Bars”, I chose, for the sake of
publication, not to preface the title with
“America”. I thought, why bother alienating
people who may believe so strongly in the present
occupation of the Oval Office? Twain sums up the
feelings of many quite perfectly. Since I was a
child, Mark Twain has always been a favorite of
mine; I keep his books around and will pick up a
copy of Tom Sawyer, Huckleberry Finn or a
collection of his short stories when at a loss for
what to read next.
The building is actually a barbershop in the 7th
Ward. Oddly enough, the curator of art at the
Ogden Museum of Southern Art in New Orleans
featured a shot of the entire building on his
Facebook page last year celebrating July 4th. I
chose this detail instead to mark that date.
26. Muhammad Ali discusses light and dark, both of
which are amply represented in this image. The
most striking aspect of the image is the rooster
walking past a graffiti fence. The idea of a fowl,
connoting farm life, with a cityscape is as striking as
light and shadow.
Roosters and chickens are often found wandering the
streets of my neighborhood, providing a glimpse of
what life was like in the past. While the
neighborhoods are mostly laid out on a strict grid of
streets intersecting each other at right angles, they
are often severely rutted, almost dirt tracts,
reminiscent of how the city must have appeared a
century or more ago. While hell on cars (I can drive
no more than 10 mph on my own street), I somehow
enjoy these more rustic surroundings.
Taken on a busy thoroughfare on the edge of the
Upper 9th Ward, I was across the street with early
morning, relatively light but steady, vehicular traffic
moving in both directions. I saw the rooster trotting
down that sidewalk, got down on one knee hoping for
a sufficient break in the traffic to capture a shot.
Among a number of failed attempts to do so, this was
the only successful one. It could not have been better
planned with the “Past Behind Me” directly in front
and I felt fortunate to capture it. The quote, too,
seemed appropriate given my admiration for
Muhammed Ali -The Greatest!
27. Your take on the RCA dog listening to
“his master’s voice” is a stark contrast
to that famous image. Here the dog
stares straight at the lens and demands
the viewer’s attention.
I grew up listening to Elvis Presley,
Johnny Cash, Jerry Lewis and others; my
parents owned a record store in 1956
and I am very familiar with the RCA
record label for which Elvis recorded
subsequent to his days with Sun Records.
When I spotted this photo opportunity, I
quietly positioned myself at a distance,
not wishing to disturb the dog. But
instantly (or seemingly so), he perked up
his ears and turned to look at me.
Realizing I did not pose a threat, his ears
went down, his pose more relaxed. I
lingered and took a few more shots but
as is often the case, the first one was the
best.
28. The image of the horizontally striped
socks is a reference to the Wizard of Oz
and the quote by Marc Platt is about the
successful play “Wicked”. Did these two
stories influence your decisions about
this photograph?
I was unaware of the Platt quote or the
successful play, “Wicked”. I liked her
socks, legs and shoes, and only later did I
realize everyone associated it with the
Wizard of Oz, and the wicked witch of the
west. It was taken the same night as
another image (the girl celebrating St.
Patrick’s Day on the corner marked
“Esplanade”), a rare night excursion and a
fruitful one as both images made it into
the book, with this one gracing the back
cover! So often I am not thinking of
anything when capturing an image; for
want of a better way to describe it, I am
merely spacing out and shooting what
visually grabs my attention.
29. The well-trodden painted smile in front of a
doorway has a prominent clump of grass
breaking through the sidewalk, almost as if
it is a bit of facial hair below the lower lip.
Deep shadows are once again at play. The
“W” in “Welcome” is nearly worn away and
it appears the “e” at the end of the word
was never painted on the concrete. These
facets make this an inviting but mysterious
image. To me, this image captures two
facets of New Orleans that that do not
appear in the other images in this series.
The photograph was taken subsequent to
release of the book and has never been
printed. The graphic quality may not appear
in other images, but the message does, as
New Orleans is a welcoming city; the
residents (at least in the poorer areas of
town) are, for the most part, an easy going,
hospitable group of people. The ‘E’ was
there at one point as it is the entryway to an
ice cream shop in town and seen much foot
traffic over the years. Taken out of the
context, where it is actually located
contributes to that element of ‘mystery’ to
which you refer but that is how it is with
visually interesting details removed from the
mundane surroundings.
30. The series ends on an upbeat note. It is an
unusual composition of a flowering plant in a
large clay pot atop two yellow and orange painted
tires. In the background, there is a line of weeds
beneath a painted fence. Graffiti on the fence is
dominated by “Be happy!!” Do you consider this
an essential aspect of the New Orleans persona?
This photograph depicts a community park,
established to nurture the spirit of kids in an under
privileged neighborhood. Ridden with drug dealers
and gunshots occasionally ringing out late at night,
residents wanted to convey a positive message to
their children. Now, it is in disarray, the fence first
fell into disrepair and finally disappeared
altogether, the flowerpot lies fallow, and the
message has been lost - a tragedy that speaks to
the hardships of life in a poorer down trodden
neighborhood presently in the throes of
gentrification as outsiders/Yankees arrive and buy
properties. It is a message of hope, an essential
aspect of life in New Orleans. How else could they
have survived Katrina and continue to carry on as
they have?
