Also, having found & broached the subject within the course of the previous findings & post, another example of 'roadkill' compressed onto the bars of a cast-iron drainage grid, which might possibly have the potential become a sub-theme within the body of photographic work (without being forced), given the additional compositional interest such strong, geometric forms provide (especially in conjunction with the double black lines), the tendency of the grids to rust in a pleasingly, subtly colourful manner, for example, & not least the play inherent in the word grid itself, with all its 'essential' modernist connections, &, particularly, very close association with the practice of the very wonderful & recently-considered Chuck, of course...
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I too have been considering the work of Chuck (Close), by way of using the 'grid'...
It's been very instructive to consider just how much relevance there is to be found in Close's process, Jazz - the Finch 'Work' book is a wonderful read, in addition to the scope & quality of the reproductions.
another thought, re. the grid - could be most interesting to pursue the drain covers in themselves as formal subjects/objects - pattern/ground/design etc, and perhaps within that their psychological aspect - that of being down in the gutter, an opening into a dark, murky 'underworld', whereupon all manner of precious things (keys, trinkets, money, etc) might be 'lost'(?)...
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