Recently, what I have come to find is that the process of making art is a daily act of ritual, with the product being images of a visual mythology. The images I create, and the images I see created by others are something that are necessary for me to sustain my daily routine, and my normal sense of self. The work I make is an attempt to visualize what I cannot see, what I cannot find, and what I cannot remember. Rather than having my work exist as a fixed identity, I would like for it to exist as a platform from which to extend a dialogue with each viewer that varies based on the connotations of subjectivity.
There is not one overarching theme, or single word, that can describe the content of my work. Instead, content varies from series to series with constants that run throughout. Each subjective context is made through a dialogue between images and ideas. I am interested in ideas of visual language, the validity of vision itself, the representation of self, memory, mythology, sensory experience, and the individual’s connection to a matrix of collective histories as themes, just to name a few.
The processes I use vary along with content, and the meaning of each piece is therefore modified by an interaction between the image and the process by which it was made. Though my process is not strictly limited to photography, photographs and the place they have secured within our culture motivate my work to a great degree. I use created imagery, along with images I find to construct visual fiction that poses itself as fact. The implications of each process I use are important, and I select each process according to what best fits each image. In photography, it is the photograph’s connection to the real I am after. In videos, the rejection of linear narrative and passive reception are always important. With site-specific installations, I want the viewer to arrive at a conclusion via an experience that stimulates each of the senses.
The process of making images and environments are an attempt to explore spiritual connections I feel with the process of making itself, however not being a spiritual person makes this difficult. What my work ends up being is a way for me to explore connections with the viewers around me, and to find a place for myself within histories I am unsure of.
There is not one overarching theme, or single word, that can describe the content of my work. Instead, content varies from series to series with constants that run throughout. Each subjective context is made through a dialogue between images and ideas. I am interested in ideas of visual language, the validity of vision itself, the representation of self, memory, mythology, sensory experience, and the individual’s connection to a matrix of collective histories as themes, just to name a few.
The processes I use vary along with content, and the meaning of each piece is therefore modified by an interaction between the image and the process by which it was made. Though my process is not strictly limited to photography, photographs and the place they have secured within our culture motivate my work to a great degree. I use created imagery, along with images I find to construct visual fiction that poses itself as fact. The implications of each process I use are important, and I select each process according to what best fits each image. In photography, it is the photograph’s connection to the real I am after. In videos, the rejection of linear narrative and passive reception are always important. With site-specific installations, I want the viewer to arrive at a conclusion via an experience that stimulates each of the senses.
The process of making images and environments are an attempt to explore spiritual connections I feel with the process of making itself, however not being a spiritual person makes this difficult. What my work ends up being is a way for me to explore connections with the viewers around me, and to find a place for myself within histories I am unsure of.
1 comment:
everything you write makes perfect sense.
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