Though putting in question the Albertian ‘window’, these pictures are eminently, immanently, photographic, in the selectivity of views with very particular kinds or levels of detail, the use of the photographic plane (often parallel or slightly tilted) and the decisions of exposure time. Simultaneously however, they engage photography’s co-involvement with other media, becoming painterly in the use of colour and the play between abstraction and description, and sculptural in the tensions between surface(s) and perceived depth or distance.
These are hard-won images, requiring the photographer to physically negotiate challenging landscapes while also requiring exacting skills of observation and patient experimentation in making repeated exposures under difficult weather conditions. From several exposures, Hasler selects the few that fulfil his own rigorous demands. The pictures push against many boundaries at once – the judgment and stamina of the photographer, the limits of photography’s ability to picture, and our willingness as spectators to attune ourselves to the complex and delicate register which these at first apparently ‘simple’ images invoke.