Laisséz Unfaire, 2011-2014, 77 x 115 cm (30 x 45 in) archival ink on epson matte paper.
Formed by wear & machine labor, gathered & unsewn, portraits of residual machined-washed attire. Friendly, posed, and dormant as an object sits perched for considering ideas of persona. The objected, collected after-materials of daily wear contained within a cigar box. The real material, imaged, once worn, memorialised life through image and collection.
The first impulse to make these photographs was my interest in dust, magnetics, and accumulation. Years later, I learned dust means stupid or dumb in Norwegian. This kind of visual, linguistic play a sense of paradoxical wonder I strive to embed in my projects. My interest and critique of ideas and inventions about progress found way to looking at the remains of machines designed to perform repetitive daily labor and the impact these wonders have on labor and value. These remains are caught in a sieve, from drying machines of popular use in homes and laundromats in the USA, and found to a lesser degree in places such as Norway or Japan where plein-air drying remains common. Taking-care, tidying, handling residual material are matters which are often considered invisible. As a Laisséz-faire system the government is out of business dealings, a Laisséz-unfaire system catches remnants. Laisséz-unfaire is a result of quasi-scientific research to make visible nascent knowledge embedded in machined work, to reveal ideas from process and results, to weigh the implications of ideas about sophistication or progress.