Residues is a collection of photography-based works:
Cultural Exports, Laisséz Unfaire, Every which way, Everywhen, Every other (in front of the other), Equation, Inter space, Liminal Metanoia, Not Even But Almost.
Variances in the ways detitrus accumulates-physically, psychologically, symbolically and how these residues are made into Objects. The Object as that which can preoccupy, occupy, or veil a view of reality. As Franz Kafta wrote, “We photograph things in order to drive them out of our minds.” The works are meditations on the invention of madness in modern civilisation. In conversation, the works aim to drive ideas out of our minds so we arrive within full embodiment.
Cultural Exports, 2017-ongoing, archival digital print on paper, images 50.8 x 7 cm (20 x 30 in), text follows.203×254
Laisséz Unfaire, 2011-2014, archival digital print on epson matte white paper, images 77 x 115 cm (30 x 45 in), Text: Bound by a box resides residual comforts cuddled by machined attire. A friendly posture, repose. A portrait of the collected, gathered and unsewn. Visual objects. The after materials of daily wear memorialised in an archive.
The first impulse to make these photographs was my interest in dust, and the way dust accumulates. This interest developed into the way humans design machines to perform their daily labor which offers the ability to capture remnants which may otherwise be washed away. The ways machines are fashioned to capture material remains intrigues me, and taking-care, tidying aspect of handling residual material of life acutely calls my attention. Each of these artefacts were made through a process of encountering residues as a Wayfarer might, as skills from indigenous traditions have been a primary interest throughout my life as part of a daily practices to maintain these sense preceptors. The matter of the residues such as: dust, light, the representations, never are direct thing but more accurately transmission of dynamics in force. These underlying dynamic principles led me to researching magnetics. As any child may encounter learning of complex narratives and structural dynamics, I approached each project within Residues with a orientation of play. The sincerity of my quasi-scientific research is in that the impulses which make determining choices in making these works are so the resulting images maintain this quality of play. The image as a representation of a known fact or quantity also carries with it unimaginable volumes of unknowns. The processes are about maintaining nascent knowledge of life force, the unifying thread throughout past, present and future. My question is can art today, show us something about things happening now, and in the future? Not as a theoretical proof, but as research accumulating, as a residue, to become matter. As in the case of solar studies of magnetic propulsions and changes.
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.
Equation, 2014. Photographic Print, Edition of 2. Artist proof available. An image as material evidence of a philosophical theory – comparison simultaneously centralises topical similarities while decentralising the set, acceptance of differences strengthens the group and the reference remains unknown.
Inter space, 2008 / 2009, photography. 25.4 x 15.24cm (10 x 6in). Some of the images were printed in the Neo New Age zine during 2012 in Chicago, Illinois. Terrain view I, fjord valley; Oblique view, liquid splash; Approaching view, Aorta.
Liminal Metanoia, 2009-2010, c-prints. A limited edition of images were printed and collected by private individuals.
Not Even But Almost, 2009-2010, c-prints. __ x __cm (__ x __ in ) Exhibited at Old Town School of Folk Music in Lincoln Square, Chicago, Illinois. The framed, c-prints are currently, privately owned.