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Motif (noun): A recurring visual, conceptual, symbolic, or formal element within a body of work that contributes to its structure, meaning, or thematic cohesion.

Whether intentional or not, anyone who photographs long enough will inevitably find themselves returning to the same subjects, ideas, or visual forms. Sometimes this repetition is driven purely by aesthetics; other times it reveals a deeper narrative or personal fascination. These recurring elements become motifs.

Yet photographers do not always share bodies of work built around a single motif, perhaps because they believe the subject itself is not interesting enough.

When the question, "If you had to photograph the same thing for one year, what would it be?" was posed on social media, responses included toys, a beloved child, athletes, and even garbage cans. Yet a glance through many of those photographers' portfolios revealed surprisingly few images of the very subjects they claimed they would choose.

Whether this discrepancy reflects careful social media curation or simply a lack of sustained interest is unknown. Still, it may point to a broader assumption: that some subjects are inherently more worth attention than others. It is easy to believe there is less interest in photographs of someone else's child or a row of garbage cans than in dramatic architecture or beautiful people. But compelling photography has rarely depended on the subject alone.

Photographers such as Lee Friedlander challenged that assumption. Throughout his career, Friedlander repeatedly turned his attention toward ordinary motifs-street signs, automobiles, television sets, fences, shadows, and even his own reflection-demonstrating that sustained observation could transform the everyday into something visually and conceptually rich. Decades earlier, Marcel Duchamp had expanded the boundaries of art through the readymade, arguing that ordinary objects could become art simply by being reconsidered.

If anything can become art, then anything can become a photographic motif. The challenge in contemporary photography, whether as an artistic practice, documentary one, or other is no longer finding a worthy subject, but learning to see one.

Throughout this collection, each photographer presents a motif that recurs throughout their practice. Some are symbolic, others are purely aesthetic, and many exist somewhere between the two. Together, these bodies of work invite us to reconsider the familiar-not because of what is being photographed, but because of the attention, persistence, and personal vision brought to it.

Enjoy.

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