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SUBLIME TIMESCAPES, 2016 – ongoing. Film is light stamped in material time. Material is a form of time. 

Working with film photography to look at vision and structures of flow in nature, the series looks at the ways human understandings differ and overlap with algorithmic learning methods within the field of Artificial Intelligence. Using the qualities unique to the medium of photography itself, the first look may appear as if the image was a painting. Further and repeated looking reveals the references to the elements perform as allegorical devices in esoteric myths, such as the nuances found in the four and five-element theories of ancient philosophy.


The ability to extract and invent new forms using visual flow through the notion of Mental Turbulence are well documented throughout histories in painting. Painters used water to depict visible and etherial flows such as Katsushika Hokusai, Gai Wang, DaVinci, Vincent Van Gogh, and Pollack. Today’s machine translated representations from NASA’s imaging technology, geological terrain mapping, and medical imaging processes are more common referents during our technocratic times. The use of digitally modelled stories rendered by machine, contribute to Artificial Intelligence’s attempts to work Mental Turbulence processes painters used with their nervous systems. A.I. tends to refer to technical depictions informed by sampled copies. Photography itself serves as a mediary tool within a spectrum containing painters and bodies on one end, and algorithms and copies on the other. In that a film exposure is a 1-of-1, the notion of not being able to step in the same river twice Heraclitus made famous becomes a weight on socials scales of value for how far or how deep knowledge and knowing can be carried forth with new tools. As the river or flow itself may represent something missing or reformed from the new tools of A.I. and machine copies.


Visual art lends itself to dissolving of the self, through the sensual vitality in textural abstraction, and in Sublime Timescapes the viewer and environment merge through the experience of the pictorial field of water and stone elements. By working with a frame of what was already there instead of sampling representations, the exposures on Kodak Gold film were made with a meditative intention of un-selfing and to use the aligning of two-images in a rangefinder as a means to understand focus as a concept useful in deciphering moment-by-moment nuance. Connecting directly to flow and turbulence within landscapes, the “I” disappeared to imprint film in a 1:1 moment with a rangefinder camera.


Magenta and Amber hues were emphasised after scanning the film. Magenta is understood as a unique facet of human vision, created in the mind and not existing on objective frequency wavelengths. Amber is a hue and resin with a relationship to the electron, as the material of amber can be negatively charged. While today’s view of ancient folk medicine considers the healing properties of amber (Chasmal) a pseudo-scientific electrical conductor, accumulated sap hardened over time does subtly interact with electronics, such as blue-tooth headphones and in the way nature communicates with different lifeforms. In the way material properties of physical matter are mirrored in the reflexive process of making the exposures, the resulting frames invite concentration on proposed divides between image, imagination, psyche, and reality. The images were created to foster benevolent flows for the viewer.


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