This is a series of photographs randomly found along the altered coast of Staten Island after Hurricane Sandy: rain-damaged and storm-battered images. The losses of visual data on these everyday souvenirs reflect the violence of a natural event. But we can also read both the physical and the chemical contact of objects on the photographs. The white linear doodle lines are the traces left by scratches. Either produced by pieces of wood, iron, concrete or stones smashing onto their surface, or by the simple movement of the photographs, blown up into the air, rubbing all sorts of building items on their trajectory. The psychedelic colour variations result out of salty water or dusty raindrops dissolving and reacting with the particles of the photographic paper.
In this sense, one could consider them as the ultimate impressionist depictions of weather. Not in a 19th century painting tradition concerning subjective Monet-like brush strokes, but impressionist in the literal sense of imprint: physical matter colliding with an already-painted canvas and deleting layers from it. It is not the perception of light which blurs the depicted landscape, but the utter impact of weather.
[image source> Storm-Tossed Memories by Dan Barry/The New York Times]