Friday, September 21, 2007


I'm home for 5 days for a break in the midst of this great commercial project that is happily inhabiting all of September. We are on a break, swapping out Art Directors, being rejoined by producer Kara Snider. After she kicked major ass across middle America, we let The T Is Silent leave on an art-making sabbatical, to be replaced by Suzy Poling, just home from making art in the UK. Tuesday we all fly to Miami to start again...what glamorous lives we lead! Not really, but it sounds great on paper. Shooting the whole job with natural light, a control panel, and a hand held camera...have not broken a tripod out yet. Really the most un-commercial commercial job I've ever been involved is such a great time, lots of work for sure, but the freedom of the job is lost on no one.
It's kind of tricky to switch gears from days in which my only obligation is to take photographs and stick a fork with food in my mouth, to these days at home that involve waking up with the kids, getting them what they need emotionally and physically, having a relationship with Cheri, with the kids, and dealing with all the real relationships that exist outside of the bubble of the long, on-the-road photo shoot. Its an adjustment, and I find myself anxious for the simplicity of the photo shoot: someone is there to work out the details, food is always around, the subjects are new and we are all fascinated with each other....we are all in love with each other for the bubble of the shoot, and then it's time to go. Then home, the adjustment starts. It takes a few days home for the pleasures and satisfactions of all the rich stuff, the complex emotions that are what home is about to really sink in.
No pics from the project, but here is a piece about my own home I put together this morning, above.


Suzanne G. said...

I see your point about the glamorous work world and the mundane home world. There's something so nice about mundaneness. Don't lose sight of the joys of picking up dirty laundry

Anonymous said...

This is odd. Why is that fairey princess disney thing in the dyptych?
I like these photographs of the children but they are curious and unsettling. Where is this going?
I do like them, they seem strong but then they are?

Timothy Archibald said...

Hi Herdingcats and Jordan-

Yah, thanks for writing and reaching out. I don't really know why I scanned that fairy princess lunchbox, but I liked how the green and blue of the nailpolish looked next to the green and blue of the fairy scene, so I thought I'd see if it would look nice together. When I put 'em together, oh, I don't know: one looked playfull and the other looked kinda real: dirty fingernails and chipped nail polish, and it just seemed curious. Think James Rosenquist, probably an influence on this goofy project:

Sean Ross said...

quite touching about the rich stuff, "complex emotions". I am constantly photographing my children and their (and my) and environment in weird ways; and don't really know where it is going, but its refreshing to see your photography and commentary

(via alec soth's blog).

Timothy Archibald said...

Hi Sean-
Oh, I'd love to see what you are up to ....can you send me a link to your work?
Thanks for reaching out and do share what you are working on if you can.



Sean Ross said...

for some reason my post didn't make it last night.

Here are 2 links. The first is more edited, but about a year old. The second is an experiment with the .mac gallery. There is more recent photographs here.

I'd love to see what you think.


Timothy Archibald said...

Hey, great to hear, Sean. I'm on the road now, using a blackberry, but I'll check 'em out once I get to a proper computer. Looking forward to it, thank ya much-