While it is too soon to define the characteristics of the photographic style of today, one common denominator, rooted in tradition, seems in the ascendancy: the direct use of the camera for what it can do best, and that is the revelation, interpretation, and discovery of the world of man and nature. The present challenge to the photographer is to express inner significance through outward form.1
Beaumont Hall, The History of Photography
As a visual artist, Doug Hall presents the philosophical complexities of the appreciation of place and explores perceptions of contemporary space through photography and video.
Hall’s investigation of the subjectivity of photography is part of a period of image making when conventional forms of representation are being challenged.
Doug Hall’s vision has evolved from the projected-image video installations he pioneered in the 1970s and 1980s into the suspended-motion photographs that currently occupy his artistic pursuit. Hall’s work with moving images and photographic media initially found expression in his translations of large-scale architectural sites and landscapes through video for gallery installations. These ultimately led the artist to the still camera. The presence of the observer in the composition is a central theme in his video work, and also in subsequent projects for still photography.
People in Buildings (1990) is significant for its expansion of the video medium into cinematic and architectural proportions. Lauded for its translation of emotional states into the perception of contemporary landscape, this installation series spans several years of technical achievement in sound and image that established the artist’s distinctive language of form. The work confronts architectural design and visual media as forms of ideological packaging. The combination of screen-size