I took these photographs at a classic car parade in Senate Square, approaching the same scene in two different ways.

In the first group, I worked with framing, color, reflections, and the shapes of the cars themselves. I also wanted to experiment with something of Saul Leiter’s use of color and compositional mood. 

The cars remain recognizable, but their surfaces, reflections, and overlapping forms begin to create compositions of their own.

Looking back, I find a certain quietness and softness in these images, with a hint of the 1960s atmosphere I was looking for.

The second group was made in the same place, but through camera movement. Here, the cars become material for the gesture: their colors, contours, and reflections stretch and merge, while in some images traces of their original forms remain visible.

The subject is the same, but the way of seeing changes. In one, abstraction begins with framing; in the other, with gesture.