Residues is a collection of photography-based works. The impulse which led to the variances in the theme is my interest in the ways detitrus accumulates-physically, psychologically, symbolically.
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 thr0ughout 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.
Laissez Unfaire, 2011-2014, archival digital print on epson matte white paper, images 77 x 115 cm (30 x 45 in), text follows.
Bound by a box for smoking objects of affection, resides a residual cuddle to comfort machined attire. A friendly posture, reposed, dormant objects perched and repurposed for considering as a persona. Portraiture of the objected, collected, gathered and unsewn. The after materials of daily wear create a mounted, archived wall life. Behold a treasure box to meditate upon. A centrepiece as real, imaged, once worn and given eternal life through memorium service in the white space.
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 capture remnants.
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.
In one and out the other, 2014, c-print.
A Parting Lot, 2013, c-print.
Planted shadow, Shared volume, Yarn soup, 2015, c-print.
Hourglass, Golden cup, Tall stand, 2015, c-print.
Sublime domains, 2013-ongoing series. Digital print on matte paper. Sizes vary unless otherwise noted.
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) Editions of 3. Images followed by text.
Landscape, terrain; Areal view I, fjord valley; Landscape, liquid splash; Approaching view; Areal view II, temperature map
Liminal metanoia, 2009-2010, c-prints.
Not Even But Almost, 2009-2010, c-prints.