GOOD WEATHER
Nodding to Martin Parr’s Bad Weather, Good Weather is a microclimate. Sunshine is its only predictable character. Set in Venice, California, these photographs focus on the surprise and internal logic between each witnessed moment; the spontaneous, strange and sincere.
A news headline entitles each image as a formal way to consider the mundane and cataclysmic as simultaneous and ambivalent. Good Weather communicates this friction—and sometimes the sensation of “breaking.” It demonstrates tension between global and local life, and an awareness of home and displacement. The subjects are connected to the headlines but do not necessarily illustrate them.
Many of these photographs were taken during the pandemic. You wouldn’t know it from the scenes, but they are no less honest. Shot on black and white film, these images aim to capture the varied strata of a Los Angeles neighborhood in flux, where new wealth, poverty and a live-and-let-live ethos coexist and compete. The question arises: does Good Weather capture the eye of the storm or its casualties?