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Artists often find themselves trapped in their abilities and style. In other words, they often reproduce previous successes, with a more or less guaranteed result, bringing on emotions of guilt and boredom which mortify their work. As a result, spectators often reflect upon the ‘verve’ or ‘freshness’ of their earlier works. However, as Marcel Proust wrote, style is for the artist an issue of vision rather than of technique. Thus, vision is often blurred by the perfection and certainty of technique.

There are a number of artists who react to their self-entrapment, choosing risk over security through new (to them) expressive paths, in the hope (and need) of renewal.

Results may be disappointing, but even so are not to be rejected, since they are the first fruits for a future success, which the mediocrity of secure repetition never would have permitted.

However, most photographers who face this problem make the mistake of believing that change simply means choosing new subjects or new tools and that this alone will ensure the much-coveted rebirth. But they seem to forget that their style is their vision and their vision is their style. Consequently, their new tools and subjects should give rebirth to a renewed version of the same person and not to another person with the same name.

There are many positive examples of important artists of the past. However, the most impressive – and at the same time bold – example of our times is the important photographer Bruce Davidson, who took the photograph discussed here. Having been taking photographs for the last sixty years, at a professional level but mainly on account of his own personal passion, Davidson never ceased to believe that photography (like art in general) is certainly a window (to the outside world) and a mirror (of the inner world), but does not cease to question continuously its limits and history. This conviction combined with Davidson’s vitality, and his effort not to lose the joy of a child’s game, which was undoubtedly his starting point, through the continuous friction with the medium, made him play with various alternative technical means and subjects, ensuring renewal, while maintaining consistency.

His unprecedented success is not a miracle, but rather the product of a deeply digested perception of values. Davidson faced all his subjects not as simple depictions of reality, but rather as incarnations of his unwritten inner values, that touch upon the subjects themselves as well as the very medium of photography.Austerity, genuineness, respect, directness, simplicity and (last and most importantly) uplift and optimism (for everything and for nothing).

After the impressive variety of subjects and formalistic approaches that set their seal on his oeuvre to date, one would expect this inexhaustible inventiveness to settle down. However, with his latest project Davidson outdoes himself and changes in the most dynamic manner his work-frame by photographing with incredible boldness subjects unprecedented and new to him, with juvenile vigour and audacity. But the biggest surprise he holds for us is that these most recent photographs are the natural continuation of the lying horse, the child in Sicily, the embracing couple in New York or the couple of men in the park, that is, of his entire previous work. At the same time, nonetheless, it is an indirect and possibly automated homage to Atget and through him to the history of photography and (strangely and probably not accidentally) also an identification with him through the clearings in the skies, which both artists, the earlier and the contemporary one, use to express impasse and catharsis. Davidson may have changed his frame but he did not change direction, since this is nothing but his vision.