Every which way, Everywhen, Every other (in front of the other), 2015, c-print.
Every which way depicts single frames, made of triple exposures, in a triptych format. Converged in each frame are three subjects chosen for their symbolic and material properties: roses, water, and a third subject as a variable. These visually non-linear stories seek to portray the image as closer to the event of lived experience, making visible the cacophony of detail available prior to the event settling and being replayed as a (memory) story. Each panel of the triptych and the three panels as a whole present a framework pointing toward the action of detail selection as a primary activity in creating narratives. Screen memories are described in Freudian psychology as a filter which blocks early childhood memories. Using the surface quality of an image, which can be interpreted as a screen, the triptych offers the screen as a surface of water, where all experiences are present, moving, and rising up, while at the same time visible from such surface. A question of depth in terms of perceiving recalled images challenged by the visibility of choice and recorded time proposes to viewers all that can be seen as present, but that which features in form or color draw each viewer to their own interpretation or narrative creation.