I fragment and sample photos of a setting, remixing them into a new subjective point-of-view.
My photo remixes combine and interweave original photographs. I shoot different angles, different parts and different treatments of a location or setting and assemble them into a new whole.
The subject matter is as varied as a forest stream, a processed-food factory, a dancer, or a subway station. Like audio remix artists, I break things down and re-combine them into something new, flavoring the fragmented original with my own subjective/emotional/spiritual interpretations. Overlapping and combining these images creates a new semi-omnipresent point-of-view.
These multiple perspectives are frequently beyond sorting out. In many instances, the viewer’s initial question is “What am I looking at?”
When humans look at an image – a picture – they do not see a dot-for-dot representation in their brain. We initially “see” shapes and colors about which we quickly recognize familiar patterns that resolve into summary identifications: sky, car, face, tree, wall.
When you look at my art, you begin along the familiar path by seeing shapes and colors, and make some summary identifications. You know whether the setting is inside or outside and generally which parts of an image are animal, vegetable, mineral or human made. And then as you look further, you leave the familiar perceptual path. You are with (and in) something new and beyond where given reality ends.
I shoot a bunch of pictures of an object or setting. Then I derive shapes of different colors and generate layers with various forms of transparency. Then I cut one out of the other and flip and crop and layer again, and then cut it back and add something new and spread things out and add things together and cut some more, and slide and pull and poke until it’s just right.
The photographic elements are significantly processed in your right hemisphere, the text in your left. I’m trying to get the two sides talking about what they’re observing. That conversation is the object of the piece.
The large work is printed and mounted, often on thicker material than the posters. These pieces are often one-of-a-kind and are most frequently available through galleries. They are most often purely visual and do not have a text component.