A conversation with myself
This recent collection of square imagery is a complete and intentional rerouting, or overhaul of my practice with photography up
until now.
A reevaluation of my intent and reasoning as a photographer and visual artist; and my understanding of, and deeply felt appreciation for the history of photographic practices.
I believe that a pioneering, shifting paradigm within the practice and exploitation of photographic practice can be touched on, and felt through this kind of thoughtful analysis. As I engage with my surroundings I feel more and more compelled to unearth and dissolve the popular myth of what I have come to recognize as merely fleeting self serving technical approaches to photographing any given subject. I have come to understand this kind of non practice of photography as being preoccupied with appropriating, hijacking, or falsifying both natural, and man made views. These appropriations are then immediately boxed into further manipulated, fabricated, marginal, very narrowly defined interpretations of something true and original that is separate from this altogether. Something that is in fact real and uninterrupted in it's own right.
The final image in that instance has been pleasantly and naively observed as something to be congratulated or championed as being technically flawless, and therefore complete in its execution. Something that exists autonomously - and as a digital prototype is a further manipulation that falsely compares itself to being there, and 'in a real state'.
My approach is also motivated by the growing need to probe further into my own historical and personal typography. My reappraisal of an infinite number of layers. Intent, meaning, and any occasional dream like interpretation of a number of different photographic practices that may have spoken to me directly at one time or another.
Approaches that may have undercut, simulated, and imitated themselves in an effort to elevate the medium to the status of high art. Or to be verified as being conceptual - post modern contemporary photography.
You could call this approach as being overtly anti-photography, and therefore problematic in itself. However, I like to think of it as both a greater personal exploration, and a re-appraisal of my process of learning. By Intentionally questioning the limits of expression with what may or may not come into plain view in front of me as I start again from the beginning.
A conversation with myself
This recent collection of square imagery is a complete and intentional rerouting, or overhaul of my practice with photography up
until now.
A reevaluation of my intent and reasoning as a photographer and visual artist; and my understanding of, and deeply felt appreciation for the history of photographic practices.
I believe that a pioneering, shifting paradigm within the practice and exploitation of photographic practice can be touched on, and felt through this kind of thoughtful analysis. As I engage with my surroundings I feel more and more compelled to unearth and dissolve the popular myth of what I have come to recognize as merely fleeting self serving technical approaches to photographing any given subject. I have come to understand this kind of non practice of photography as being preoccupied with appropriating, hijacking, or falsifying both natural, and man made views. These appropriations are then immediately boxed into further manipulated, fabricated, marginal, very narrowly defined interpretations of something true and original that is separate from this altogether. Something that is in fact real and uninterrupted in it's own right.
The final image in that instance has been pleasantly and naively observed as something to be congratulated or championed as being technically flawless, and therefore complete in its execution. Something that exists autonomously - and as a digital prototype is a further manipulation that falsely compares itself to being there, and 'in a real state'.
My approach is also motivated by the growing need to probe further into my own historical and personal typography. My reappraisal of an infinite number of layers. Intent, meaning, and any occasional dream like interpretation of a number of different photographic practices that may have spoken to me directly at one time or another.
Approaches that may have undercut, simulated, and imitated themselves in an effort to elevate the medium to the status of high art. Or to be verified as being conceptual - post modern contemporary photography.
You could call this approach as being overtly anti-photography, and therefore problematic in itself. However, I like to think of it as both a greater personal exploration, and a re-appraisal of my process of learning. By Intentionally questioning the limits of expression with what may or may not come into plain view in front of me as I start again from the beginning.