Havana

<p>Philip-Lorcia diCorcia often orchestrates the production of his images from start to finish. In his series Streetwork (1993–99), however, the artist shifted gears and became, as he put it, &quot;interested in the dramatic possibilities of chance.&quot; He hid remotely controlled flashes synched to his camera over city streets, leaving one variable undetermined—the subject. Using his camera's shutter as a trap, diCorcia captured seemingly banal, fleeting moments between strangers on the street. A final addition to Streetwork, Havana is one of 10 photographs that di Corcia took from a single vantage point in this manner, not knowing the situations that might materialize in front of his theatrical lighting. The mute presence of this man pausing on a sidewalk could be interpreted as either inquisitive or predatorial when considered in relation to the two young women at the counter nearby—although diCorcia insists in the &quot;non-narrative&quot; quality of his work.</p>