This series is about phenomenological reduction. It aims to romanticize and transcend an experience that exists within the frame of a moment. There is beauty and there is pleasure in the escapist's dream.
"It's about fucking reduction, man" -Viennese stranger
One wants a room with no view, so imagination and memory can meet in the dark. —Annie Dillard
These chromogenic prints, photographed in the colour darkroom, symbolically represent a moment of transition. It aims to point at a dying analogue process, alongside the end of my access to that process. The three photographs are of the darkroom hallway, the chromogenic processor, and Room K. You cannot see what I have photographed in the darkroom, but you can imagine it. What precedes it and what comes after is not visible.
Perhaps I’ve overthought the matter, but the nostalgia is setting in and I haven’t even left. I suspect my affinity to the process is because I’ve spent a significant amount of time trying to perfect a skill that is becoming obsolete. As analogue printing sits on the cusp between contemporary and historical, I cling to the process despite our heavily digitized lives. And then, of course, there is the passing of time. A sixty-second exposure for the print. Seventy-five years of the printing itself. And an uncertainty of how many more to come.
I’m not quite sure what the allure is. Part of it is the quiet solitude of the darkroom. And then there is the patience it warrants, alongside one's relationship with the materials that is both intimate and meditative. You wait in the dark as the paper feeds through the processor, the edges caressing and running along your fingers until it is gone. And then you wait, patiently, on the other side.
The series of three photographs is about the death of the present and the uncertainty of what comes next. We can never really know the outcome – be it what will show up on the negative film frames or the unpredictable future. As our lives progress further and further into the digital realm, I am reluctant to move with it. There is something lacklustre in it all—so efficient, so immediate, and so predictable. But, perhaps, inevitable. It is difficult to reconcile this fact after spending several years attempting to perfect one’s analogue process. I could foresee the outcome when I had begun, but it is still strange that in the end this process will merely be a memory.
24 x 24 inches Chromogenic Prints Edition of 2 2015
Ripples & Tides
Film Stills from Super 8 film 3 minutes 23 seconds 2017
Disposition is a series that focuses on the futile within the culture of the urban setting. My aim is to photograph objects or moments that break up the banality of the everyday and it is by chance that I stumble upon these bizarre or uncanny scenes. The project lands somewhere between hope and the futile, between desire and the absurd.
Disposition alludes to the idea that even though we live on the artificial surface of everyday life, reality exists beneath this surface and can be found in the surreal objects or moments that challenge the superficial order of our fabricated lives. In short, my disposition challenges the notion of the good life.
24 x 24 inches Chromogenic Prints Edition of 4 2015
Giclée Prints from 120 film
Parks & Recreation in Guangzhou.
Giclée Prints from 35mm film 2014
Under this mask, another mask. I will never be finished removing all these faces -Claude Cahun
This series is an investigation into photographic self-portraiture. The exhibition includes photo-based artworks by an international collective. The project was founded in 2013 by Petar Boskovic. The images here are my contribution to the project.
Hidden is a series that explores the contemporary nature of the self-portrait. Artists have eliminated the tradition of exhibiting their face as the main component of the photographic portrait. She or he has replaced it; sometimes an object obscures the face and in other scenes the face has been removed entirely. For example, abstracted strands of hair are all that exist within the photographic frame. In other cases, masques or digital alterations become the face of the artist. The works become a photographic performance that plays on the theme of representation. The removal of one’s face allows for the artist’s persona to emerge as ideas of the self are projected. But in the end, the self-portrait can reveal nothing just as much as it can reveal everything. It is up to the artist to decide how they wish to be represented.
How do we negotiate ourselves around ideas of structure and purpose? How do we come to terms with decay? My observations examine the isolating nature of these spaces, those that have been built in an attempt to commoditize our lives. This series focuses on themes of alienation, commodity and absurdity. It also addresses the duality of presence and vacancy within the desolate environment, alluding to our relationship with the absurd and constructed landscape.
Chromogenic Prints. 26 x 26 inches 2014
"...I am curious as to who has been here and who has yet to come. That curiosity lingers in a feeling of disconnection and a desire to interact. But, all I am left with is the empty scene and the stories I fabricate about the shop owner, the patrons and the personal items scattered throughout the shops."