![]() ![]() Waters’ prints are grainy, pixilated, and degraded, having already gone through prior rounds of photographic translation–from film to video, from television to snapshot. Waters rejects conventional values of “good” photography there is no fussing over equipment, technique, lighting, or framing. While many artists follow the trend of colossal photographic prints, John Waters works on a small scale having already seen how the images appear when projected large. Waters says, “I blundered my way into photography the same way I blundered into films.” ![]() No photograph existed of the precise moment in the film that was requested so Waters decided to make one himself by sitting in front of his television set with a 35mm camera in hand and photographing video images off of the television screen. Waters began producing still photographic works in 1992 after a request was made for a specific film still of Divine (the spirited cross-dresser and star of many of his films) in his early feature Multiple Maniacs (1970). In a career that now spans forty years, John Waters has moved from the margins of culture to the mainstream, applying his iconoclastic perspective and aesthetic to filmmaking, writing and photography. ![]()
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