In my photography, I often strike a balance, black and white, yin and yang, positive space and negative. Intricate graphic elements to enhance the overall design of the image. I use a lot of lines and spirals and frame dissections to intensify a sense of movement, even when it does not exists due to stationary subjects or high shutter speed to stop the action. It's the feeling I'm after, and I'll use every tool in my belt to achieve the desired result.
For me, I do not want to see a picture; I need to feel it. Does it hit me on a visceral level? Does it envoke a response? Is it calming or jarring? Is there a third effect in action?
In this photograph, "Cars," a lot is going on and not much at all. It's almost Seinfeld-ish. An image interpreted in a variety of ways but is about nothing. Two cars, going down the road, photographed thru a highway fence. That's it. Or is it?
Art interpretation is rarely that easy.
Compositionally, you have the conflict between black and white. There's a separation of the scene by the pattered fence. The horizontals and slight diagonal lines move through the image but are blocked on one side by the heavy weight of concrete and shadow which frames the image on three sides. And then there's the support for the bridge, the linchpin of the photograph.
Beyond the dynamic design of the image, either further reach of artistic explanation or interpretation is on the viewer. For me, it was an iPhone snap out the window while stopped in traffic. Did I see the graphic design? Of course, I saw it, that's why I made the picture with the only device within quick reach. It was one and done. The light turned green, and I drove on. Do I see more in the picture? Maybe. Maybe not. How about you?