SURREAL LANDSCAPE, 2016-2019, film photography. Surreal Landscape uses the medium of photography to look at vision as a way human understanding differs from artificial intelligence. The vision of elements presented in the series are sensual and textural. The materiality of imaging abstractions of elements becomes mirrored in the psyche, and embodied perception through the physicality of spacial viewing. The images are framed for the physicality of form in union with the perceptual state of mind to extract new forms from “mental turbulence.” As Davinci depicted turbulence in water and in the mind in paint, illuminating perceptual turbulence. Histories in painting are translated today through photographic, and more recently digital process.

The ability to extract form from turbulence becomes the ability to invent new forms in visual art history. Artificial intelligence attempts to do this by referencing samples, and photography attempts to sample the world a priori. With this series of analogue film, the closeness with what was (already there) comes through the traditions in sublime painting through a lens. The film is what does the looking, the rangefinder performs as an apparatus, entirely different from a digital reconfiguration. The difference is so slight, the self-evident truth is most often missed. As often how things go when something in plain sight is not noticed.

The peculiar challenge for humans to gain direct experiences socially appears compounded during technocratic times. As the framer of an image, the eye and timing attempts to gain a union with the subject in frame. The image goes towards the sublime understanding. In this aesthetic relationship, the relationship between vision (eyes) and the conception (sacral region of the body)  stir the ethical conversations on relationships between humans and nature. Using the distinct qualities of imaging technology by enhancing the digital interpretations of analogue film, the photographic image invites the viewer to open various methods in which vision and images can be read, related with, and understood. Values of beauty and internal and external landscapes, as principles, guide emotional and behavioural choices related to the environment of which humans are made of.

Colours in the series are heavy with magenta and amber due to both film itself and the qualities of the enhanced pigments in the Kodak Gold profile. The film noted for popularity in the regular market ties the sublime qualities in the everyday subject to the everyday material. The tones are often noted for warm and magenta colour casts. Magenta is understood to be the colour that does not exist on a frequency wavelength; the colour is one humans make up with their minds. Amber is a resin with a relationship to the electron in that it can be slightly negatively charged.As a substance used in ancient folk medicine, Amber (Chasmal), was understood as electrical conductor. Accumulated sap hardened over time was used to protect the body from harmful energies and revive benevolent energies from the heart and circulatory system. These material properties are mirrored in the reflexivity of both photographic process and resulting images, in the presentation, the images refer to the images themselves more than the subject being referred to. This cause and effect relationship aims to foster a structure that can be benevolent for the viewer.