The first medium to store time was the moving image, yet how time is then sorted and confined continues to evolve. This compilation of scratch films viewable through QR Codes conflate old and new technology, while also complicating the notion of how time based things can be confined.
Presence is defined by its absence. Interested in the transient space of motel rooms, this series solicits a recognition of the collective experience-looking at how objects wear time, details become mysterious and mundane moments go unregistered, yet internalized.
Historicity is informed by the constant transformative relationship between past and present, explored here through the archiving of transnational urban topography. Formulaically framed, this photographic compilation methodically archives the terrain of different localities around the world. Exploring how humans reshape the natural topography, my interest lies in how the perspectives provides an ethnographic study revealing the cultural historicity, socio-economics and geography of a time and place.
Pin Hole Exposures
The photographic process of a pin hole camera emerges as a praxis for memory function. The automatic writing of light cast onto the interior gives an abstract sense of an instance, and thus a multiplicity of semiotic meaning. The complete story of the moment is absent, so one builds a narrative around it. As in the case of the Rorschach cards, each photograph provides the room for interpretation, offering contradictory and complicit narratives stemming from the same image.
As desertification and extreme weather patterns delimitates habitable and uninhabitable zones, it is clear that the earth can’t eternally withstand the strain of the industrialized world. Central to this work is the question of human survival in relation to nature and a global environment increasingly defined by unpredictability.
Revisiting the contemporary notion of the still life or la nature mort, ‘dead nature’ in French, I re-conceptualized the aesthetic tradition through documenting flesh in the space between pulse and plate. Outside of the play on words, the aspiration underpinning this body of work is to shed light on the socially acceptable, normative practice of animal brutality and consumption. The psychological schism in most peoples mind between the slaughter house and the Big Mac stems from a dangerous ignorance rooted in convenience and socio-economics. Our cultural norms of consumption have become the catalyst to the inhumane slaughter of animals executed on a mass scale.