CONTINUOUSLY RECORDED: Reinterpreting Photography
“The photograph is a thin slice of space as well as time. In a world ruled by photographic borders (“framing”) seem arbitrary. Anything can be separated, can be made discontinuous, from anything else: all that is necessary is to frame the subject differently. (Conversely, anything can be made adjacent to anything else.” Susan Sontag
I’m attracted to these concepts: Re-photography, repurposed photography, an image of an image; reinterpretation of the photographic medium, composition, and the modernist grid.
As a viewer I want to struggle at what I am seeing. As an artist, I’m making what I’m seeking out to see; I’m avoiding straightforward shots and compositions.
In school I took a visual communications class, and I remember the instructor saying that there is right way to crop a portrait/person for a film composition, he said, “Don’t crop a portrait mid-eyeball, it’s disturbing.’ That’s what led me into “disturbing” cropping methods and compositions.
In this series, I do not use a camera, only a scanner, pencil, and a razor. The scanner is the camera. Upon creating this series, I was thinking about the role of the modernist grid in a contemporary culture—I wanted to reinterpret the grid, and reinterpret the photographic medium. I am deconstructing the grid, and using it as a tool to deconstruct the traditional notions of viewing and making an image. If I had to deduce my artistic process down to really basic terms, it would be synthesizing, deconstructing, and reinterpreting. The segments and how the images are presented almost create little splices of time and a visually coded language.
When I think of photography there is an implied set of perfectionist rules and techniques that a photographer must abide by. When I think of a photographer, I think of a tech. While I love the technical aspects of photography, I want to stretch and challenge the technical aspects of photography. While studying photography in college, I wanted to learn the “wrong way” to approach making an image. This series is, in a way, a revolt against the traditional sense of viewing and creating an image.