Interference Pattern

2018 - ongoing | c-prints, digital pigment prints | dimensions variable

Interference Pattern is a collaborative installation with artist Vivian Cooper Smith developed from a shared an interest in critiquing the ways photography constructs our perceptions of nature through the concept of landscape. The artworks are formed through studio and darkroom interventions in which photographic negatives are manipulated by acts of cutting, burning, tearing, stapling, folding and the incorporation of visual obstructions. The previously straightforward landscape imagery is thus incised with physical intrusions, complicating the scene with an additive-erasure. This process — that changes the material surface of photographs — draws attention to the notion of landscape as a cultural construct.

                   

       







As a collaborative installation the arrangement is free-form with some prints overlapping, some pinned loosely. This technique foregrounds the material qualities of the paper and accentuates the shadows made against the wall and other works. Gels are placed across the lights to create numerous coloured shadows at the edges of each print. The colour of the gels are chosen so that their combined effect is a neutral white light – red/green/blue and cyan/ magenta/yellow. In the installation, the layering, curling, and folding of the prints create obstructions for the light waves. Shadows emerge as multilayered colours.

The project is informed by the scientific feminism of Karen Barad, whose diffractive methodology measures ‘interference patterns’ - the effects of difference rather than the differences themselves. Like intersecting ripples made by two rocks thrown into a pond, these differences interact - some intensifying and some negating the other. The installation operates as an interference pattern, it maps the effects of two artists working in complementary and contrasting ways and opens up possibilities for new materialist pathways through photography.




Give Them Distance

2017 | digital video and acrylic mirror, wood, and photograph on wallpaper sculptures

Give Them Distance explores how we comprehend the cosmos and our place within it. Created from hundreds of slides discarded by a university Earth and Planetary Science department, the looped video animates a journey from Earth, through the solar system and space, returning to our planet via fallen meteorites. Juxtaposed with the cycling slide images, droning and degraded audio captured from Walt Disney’s 1979 super-8 sci-fi film “The Black Hole” provides a hypnotic rhythm. Give them Distance considers the idea that we have come to know the collectively-imagined cosmos through photomedia and sci-fi films. In this piece, outmoded visual and audio representations of earth and space reveal a cultural and material patina. The video, through its coupling of an unavoidable wearing down with cosmic expanse, attempts to point to the paradoxical coexistence of entropy and the infinite.

01:00 min preview of 03:05 min video.

Desert Pictures

2014 | c-print photograms, digital video, gelatin silver solar prints, acrylic and light sculpture





Desert Pictures explores the notion of landscape through a series of images, objects and photo-driven experiments. Informed by a lifetime of adventures in the deserts of the Southwestern United States, this work considers how desert environments are imaged and framed: can the spatial, perceptual, temporal, biological, and chemical of a place be embodied photographically? By focusing on optics, light, minerals, surface, time, and chemical and digital interactions this project incorporates these essential components of photography and video-imaging in order to reveal the conditions of representation. Desert Pictures was made in collaboration with the desert environment using minerals, rain, and the sun. A variety of approaches explore the materiality of analogue and digital media to suggest alternative ways to represent the multifaceted aspects of an environment, expanding the representation of environment far beyond the traditions of pictorial landscape photography.

Desert Pictures was developed during a fellowship at the Center for Creative Photography and works from this series are now part of their permanent collection.




The video untitled (sun) engages with the idea of landscape representation through unconventional manipulations of imaging media. In the mid-day brightness of Northern Mexico, a digital camera was pointed directly at the sun, purposely causing overexposure of the image’s individual pixels. The chromatic aberrations caused by the malfunction of the camera’s sensor reveal the aesthetic possibilities of failure, depicting the sun as an ever-changing column of light, fringed with green and purple radiations. This sensor ‘bloom’ transforms the image of the sun while exposing the medium’s limits of representation.

Octahedron

2012 | documentation of an augmented reality intervention at White Sands, New Mexico, US.

Octahedron is a collaborative project with designer Steve Pacheco. An Augmented Reality (AR) art intervention, it creates an interplay between dimensions of the visible and invisible through geo-positioned digital layers within the landscape of White Sands National Monument in New Mexico. AR technology uses a special browser on smartphones and tablets that allows the device to “see” previously invisible digital layers, it conjures up additional, floating objects within a real space. Using Annie Bessant and CW Leadbeater’s 1901 publication “Thought-forms” as a starting point, the project explores their notion that conscious energy can manifest in a 3-D form. The aim is that an encounter with the intervention will blur the distinction between visible/invisible, past/future, object/experience, and thought/form.

Above / Below

2013 | light installation

Above/Below is a primitive planetarium that shifts with the presence of the audience Viewer’s shadows and projected light collide to create a mutable space. The installation consists of six overhead projectors on the floor of a darkened room. On each sits a sheet of aluminum foil with hundreds of tiny holes. These function as apertures, projecting light passing through to create an array of ‘stars’ on the ceiling and walls. Above/Below references both the prehistoric conception of stars as punctures in the mythological fabric of a night sky as well as the camera obscura, a darkened room in which the ‘outside’ is revealed on the interior walls.