In his photographic sequences, Duane Michals has expanded the possibilities of his medium. While most photo- graphs deal with static appearances, Michals' depend on trans- formations and disappearances. His concerns involve more the oneiric and personal than objective renderings of a“reality”. For his influences we do best to look at Magritte and de Chirico than Edward Weston or Ansel Adams.
That is not to say he has abandoned the sophisticated mechanics of his field but that he has relegated them to a secondary, vehicular role. “I hate the perfectness of photography,” Michals asserts, and laments those “photographers who go out looking for subjects to photograph and become so dazzled with technique that their results demonstrate little else.”
Realities commence for Michals in his own shaven head. “I prefer photographs that would have no existence without my imagination,” and Michals' photographs reflect the mutability, the flux, the bizarre and tasteful elements that comprise a radiant and active imagination.