Dear Krocky, I am sitting here with a copy of the NYT Sunday magazine 4/26/15 nytimes.newspaperdirect.com/epaper/viewer.aspx You may find the article and images by Jaime Lowe, Globe Trotters, relevant. In regards to your work in general, I am reminded of several ideas, perhaps enough for a book. So i will begin.... … Read more

Dear Krocky, I am sitting here with a copy of the NYT Sunday magazine 4/26/15 nytimes.newspaperdirect.com/epaper/viewer.aspx You may find the article and images by Jaime Lowe, Globe Trotters, relevant. In regards to your work in general, I am reminded of several ideas, perhaps enough for a book. So i will begin.... Time maps, let's start there. So time flows in a continuous arc perceptually, literally on so many levels, between your ears at first, and then within photography capabilities. You can accept time just as it is perceived or you can manifest it in an infinite variety of imaginative ways photographically. Flash bulb moments are created photographically by stopping time in a freeze frame (obviously), or by creating composites, fabrications, multiple overlays, reordering segments, or presenting selected segments, so that the time you express is physical but may or may not be rendered instantaneously. You have chosen to represent time segments as if they were instantaneous. The technique is not the point, but it does put you in a place to direct your narrative any which way you choose, given the restriction of this modus operandi of capture. Your vision is not as much about the sculptural morphing of overlays of varying duration(s), since it appears to address the non-overlapping, laterally discreet re-sectioning of what isn't connected in instantaneous time but compounded over time. Adding this up, it becomes the basis in which you build/tell stories of your meditations on observed gestures using time as your color palette and trigger. The notion of witnessing and compounding segments that do not directly overlay has become your vocabulary, and the seat of your dialectic. So this raises all sorts of interesting questions about why you would do this. What is your motivation? I don't know, but I am inclined to think about your work (each individual piece) as a collective "think" about what is going on and the state of affairs in each individual's life. And collectively, within each image, your narrative is about what we do with our time --a collective flash bulb moment. I guess you could ask questions about the first order of experience-time, place and circumstance, as well as how this idea might manifest in different cultures, as well as direct questions about socio-economics within micro and macro cosmic levels of order en.wikipedia.org/wiki/Macrocosm_and_microcosm You could lay the comment of lee 2005 (above) over this image, "that's fantastic. a really cool shot :)," and leave it right there, as a simulacrum of just one single capture. Does knowing what more people do within the same set of boundaries represented at the same time--even though this may or may not be true--make any difference as an idea? I am led back to the thought that all pictures are fictions and that we all choose whether to invest in the believability ( or probability) of them or not. Within the structure of your storytelling, I find an open space to emotionally and/or intellectually invest in a narrative that takes on values and a life in my own mind, irregardless of the truth before the moment. John Reiff Williams Revised 5/1/15