Paris 19A 1949 - 1950

Robert Frank's photographic contact sheet, Paris 19A, shows various black and white images of the city on strips of film. I am so curious about Frank’s choice to show his process – the leavings of the cutting room. I can imagine him walking around Paris, his camera in hand, responding to what he sees, and trying to catch a moment. How many images did he take? How many didn’t make the cut? Frank selects, and then re-selects; the black marker pointing like an arrow. This is a behind-the-scenes glimpse into the artist's decision-making and process, making me feel like I am sharing his subjectivity. The handwritten marks give me a peek into how Frank evaluated his own work, and how this relates to his broader body of work, which is known for its gritty, honest portrayal of society. These kinds of choices always affect my work, it’s like we are all in a conversation and exchange of ideas across time, inspiring one another’s creativity. And photography, like painting, embraces ambiguity and uncertainty, allowing for multiple interpretations.