Silence Becomes Matter
With landscape as my subject, I investigate the cognitive disconnect that occurs as I attempt to comprehend the incomprehensible. It is through the land that I encounter vast experiential spaces—existing at an inaccessible scale, just beyond perception—that allow me to locate a reflection of that which is within the self and compel me to frame a series of questions that inform and guide my practice. How can physical experiences in response to liminal spatial sensations be represented visually?
Parsing the relationship of the interior geography of the psyche with natural spaces, I examine my desire to engage physically with landscapes that transcend visceral cognizance. Within the context of microcosms, the universe and non-linear time, I decipher the position of the physical body in relation to vast spaces exceeding a bodily scale and contend with the sublime. I grapple with my intellectual understanding of contemporary studies of the expanding universe, subatomic particles and observations of celestial phenomena to form an abstract relationship to these theories. The enormity of the universe, with complex forces continually reforming space, leaves me sleepless at night as I try to locate my position and relationship within this endless structure. It is within vast landscapes, the desert in particular, that I am able to find connecting threads, allowing me to negotiate incomprehensibility and ephemerality.
Working in installation, I create assemblies of photographic objects, natural materials and lighting, when combined, address primal time. Often photographing at dusk, the diminishing light is situated at the edges of perception, and experience overwhelms rationalization, exceeding the capacity of language to delineate and elucidate. Can I locate sensory experience verging on spiritual within an intellectualized dialogue of art theory that values the rational and understandable? Using a minimalist aesthetic, I methodically condense my work to essentials, explore variations in scale, experiments with an unconventional range of materials with the intent of creating an expansive dialogue through the disruption of perception and crepuscular vision.
Rejecting standard photographic conventions, I allow scratches, dust and other marks on my film and prints. The deteriorated surface functions as a counterpoint to photographic expectations, while the accrued marks reference natural processes. By allowing these intrusions, I locate the photograph as a site on which are inscribed a series of events – as a palimpsest.
With the photograph as an object it provides an opportunity for mark making, and a means to elicit different expectations of photography beyond image representation. These inclusions on the surfaces of photographs oscillate between image as material and residue, operating as a signifier for land and earth not quite visible. Can manipulation to the surface of the image bring forward ideas of entropy and accretion?