“Cycle/Surface” is a digital photographic print attempting to translate a temporal study on perception, visual technology, and the process of making images. However geometric and linear it might look, it is in effect a “skewed” snapshot of a work in progress; It is composed of a grid/sequence of 25 images (five in length and five in width) taken with a mobile phone in between moments of recording videos. All the images are of either projected or reflected light captured on flat surfaces (tables or computer screens), and the two bottom rows are actually captured during the Photoshop session of putting the work together, from the computer screen itself (close ups of the previous rows already composed on the Photoshop window) and the worktable. The process plays on ideas of technology, transfer, translation, loss of information through digital recycling, and the place of human perception in the middle of all that. The resulting image is abstract but held together by 3 black and white close ups of a man’s face looking at the camera. These images are taken from a freeze frame of a film on a laptop screen. The man is a random passerby that appears for a split moment in the film. The film is “Venom and Eternity” (1951) by the Lettrist movement founder Isidore Isou who was interested in the schism of image and rejecting film conventions.
12 stills of 16 (2014)
First Scene (2013)
I captured this image with a mobile phone during my first month in Baltimore, while I was trying to establish a sense of place. I was drawn to the ghostly absence in the scene, and tried to establish a dynamic interaction between the empty chair, the phone book, and the reflection in the window.
White Noise (2012)
An ethereal visual poem where I try to evoke meaning through the sequencing of the photographs and the echoes between their content.