When I started photographing these abandoned places I was most interested in the dark side: the ugly underbelly of society turned beautiful by the camera’s eye. I photographed Pennhurst – an abandoned children’s asylum – with great excitement. The idea of exploring a place where so much life had gone wrong filled me with a strange power, perhaps akin to that idea of wrestling with our own demons. But afterwards I was reluctant to share the photographs. The empty, sheeted bed with the peeling walls behind it was so incredibly sad – and the bed itself a kind of relief map of those who had used it. I was almost embarrassed by bearing witness to the stark devastation of this place; not just the walls but the human spirits that seemed to haunt Pennhurst.
Photographing this theater is at the opposite side of that experience spectrum. The paint is faded, yes – the artifacts sit in silent storage. But they remind us of an era of opulence. The portrait of the projectionist hangs on the wall above his private sink in the projector room, celebrating and honoring his life. The machinery of the then state-of-the-art projectors is cheery with its red and yellow lettering, the bakelite knobs. And the theater is owned by a non profit organization that is actively restoring it as a music venue – hope abounds.
I don’t know if the experiences of photographing these two places and my responses to them are a map of my own psyche or not, but I’ve learned a lot about what moves me as an artist, and I’m looking forward to exploring that more.