2001 — 2010
It’s Springtime and it’s dark and the city sleeps. Flowers emerge in strange places and he notices the flowers and then he photographs the flowers. Medium format. Tripod. Extended exposures, no flash. Tungsten-balanced film and available street lighting. And the camera sees the flowers quite differently from the eye. It offers up a glimpse into the optical unconscious. It shows us things that we never expected to find. Things that we never expected to see.
For McConnell the sublime and the monumental and the oh-so-fucking-sad-and-beautiful always reside in the people and the places and the things where you’d least expect to find them. In the Sectarian mural. In the Undertakers. In the Crackhouse. In the violated body. In the maligned and the marginalized. In the half-way-home. The oh-so-fucking-sad-and-beautiful. In people and places and things where you’d least expect to find it.
The Night Flowers are no different. They are a series of minor photographic revelations. Revelations in the sense that they reveal what the eye cannot see and what the night will not give up and what the city’s chaos and filth and concrete foreverness largely denies. They reveal a chance encounter with fragility, stillness and beauty. In the middle of a traffic island. In the shadow of a Corporate HQ. On a street in the ghetto. They offer transcendence, escapism and redemption. They reveal it where you’d least expect to find it. Colour in the dead of night.
— Simon Pooley