Verwoeste huizen na bomaanval Possibly 1940

Polygoon’s photograph captures houses destroyed after a bombing. The scene is a jumble of debris, a raw, unsettling mess of what once was someone's home. Looking at this image, I imagine Polygoon, camera in hand, walking through this wreckage. Did they feel overwhelmed, trying to frame something so chaotic? The photograph isn’t just a record; it's a point of view, a perspective that tries to make sense of senselessness. There is so much tonality here. It's a balancing act of making something from nothing. You know, photography, like painting, is about choices – what to include, what to leave out, and how to arrange it all. It's like a conversation across time, these traces of making, each adding something new. It reminds us that every artwork is a dialogue, a way of seeing and feeling and trying to understand.