Window

Window. From February 5, 2018. It’s quite amazing how our digital world keeps these things straight. And then, of course, we project back and try to imagine that day.

The photograph was from before I’d realized just how poignant these scenes might be--something that happened later, as we got closer to the move, and as inside-outside became a metaphor at even more levels. Here there’s a mystery, but it’s pretty straightforward. The view outside to that tiny figure seated below. You get these views when you’re four floors up, but often the window is closed (layer of glass intervening) or you’re simply not paying attention. But with the frame canted open as it is here, outside becomes inside--the great ideal of Wurstser’s houses, actually--and a vision of California possibility.

You feel that here as well--one of those mild afternoons in what should be winter--sunlight on the trees and grass…

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The choice of factory windows was probably not intended for this purpose--the in-the-middle-of-space effect--but it would always be a delight to glance up for a moment and see the world with this kind of clarity.

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