Kerry Lexington - Photography
Salt of the Earth




The word “photography” comes from the French photographie,
which is based on the Greek phos (light) and graphis (drawing),
together meaning “drawing with light”.
 
In this particular body of work, Salt of the Earth, I address the
use of light in our society and its prevalence in a multitude of
circumstances. Besides the obvious necessities for light in everyday
human life, i.e. to see, to acquire vitamin D from the sun, or even
to provide electricity through solar power, there are many occasions
when light equals safety, for example, children are often times given
nightlights for a sense of protection. In the same fashion, we put up
lights on our streets, in our parking lots, and around our buildings for
security. If someone lives alone and gets scared because of a noise
or a scary movie, the first thing he or she wants to do is turn on all
the lights. But does the light really have the ability to protect us with
its mystical and even mundane qualities, or is it just a belief, an
exercise in faith?
 
There is also the concept of spirituality, as in “angels” or “fairies”
that people carry with them, or that travel with them through life
and protect them or guide them. Since the true form of these figures
is unknown, throughout different cultural mediums such as film and
books, we often times portray them as a spark of light, a flash of light,
a glowing orb, etc. But do these beings truly exist, or is it once again
just a belief, an exercise in faith?
 
In addition, people often think of light in terms of miracles. Once again
in our films and books, especially in particular genres, when a miracle
occurs, it is many times accompanied with that same spark, that same
flash, or that same orb. So in terms of everyday miracles, like childbirth,
or death, how and why do we as a race choose light to illustrate these
events? What is the attraction to light?
 
I also ask the question from my perspective as the artist, if I let the
electrical cord of the light sources show in the image, it does not take
away from the belief of the subject in the image of the being’s existence
or of the light’s protective abilities, etc., so what does this mean to
the viewer? Hopefully it will leave the viewer with the question of what
is faith or how does one achieve faith? Through a series of images
incorporating scenes involving sleep and illness, pregnancy/birth,
death, and everyday practical concerns such as driving or reading
at night, I examine these concepts relating to the interaction of
the human form with light.
 
I chose very specific light sources, salt rock lamps, which are
mined in the Himalayan Mountains and then transformed into lamps.
The result is a very organic object, each one with its own individual
markings and color. Through the use of this natural and idiosyncratic
material, I combine both the human element as an organic and
individual organism itself, and also that in essence we are all made
of the same substance at the core.  
 
In addition to questions involving faith, I also address the story,
the historical survival that we all face in the form of preservation for
both our distinct quintessence, and our familial lineage. Through the
use of the story, we often times communicate that which we find
necessary to carry on through time, as well as to inspire others or to
learn from ourselves. I decided to use Oriental script scrolls, which are
many times used to communicate a story or a proverb, to present
small vignettes into the lives of the individuals in the images, not
only incorporating their interaction with the light, but how that light
travels with them through an event, a place, or a time. This creates
not only a voyeuristic experience but also one of helplessness; we can
only sit quietly and watch, we cannot interact or take action to change
the story. The helplessness in turn draws us back around the questions
of our own life paths, how many times we are not in control, and helpless
to the whim of unseen factors. And in every instance of helplessness
what is the story we are creating, that we then tell others, that may
inspire, or that we ourselves learn from to redirect our path to the next
event and set of circumstances.
 
The images are meant to display both individuality and community,
both faith and loss of control, both the story and the witness, and
create an experience for the viewer of both duality and reflection.