•                   Analog Autumn Installation Analog Autumn Installation Analog Autumn Installation

    Analog Autumn

    Analogue Autumn is a visual symphony of works that dissect and foster the disintegration of the photographic print.

  • Cut From The Same Cloth

    If discarded, a family photograph is separated from its meaning, leaving the image open to any interpretation. In Cut From The Same Cloth these found family photographs are reanimated and recontextualized. Redefining their purpose.

  • the grove.  I picked a path I had never taken we watched from the field. flat pennies.  I longed to inherit his adventurous spirit  #1 flat pennies.  I longed to inherit his adventurous spirit  #2 we were nostalgic for something that had yet to happen endless.   I stared out the window of the Chevelle right before the lights turn on then the dawn  #1 then the dawn  #2 then the dawn  #3 I stayed there all day.   #1 I stayed there all day.   #2 we played gin for milkshakes it was wishful thinking of her to save it Flat Pennies & Other Tales Installation Flat Pennies & Other Tales Installation

    Flat Pennies & Other Tales

    While in everyone’s life there are landmark events that are documented by a camera, (birthdays, weddings, graduations, etc), I am intrigued by the unexpected moments, just as memorable, that are not captured by a camera. These undocumented moments can turn into vivid memories that can be triggered by all the senses. They are more fluid then memories associated with photographs because there is nothing anchoring them. As such they are manipulated and edited by our imagination. The more we retell or relive these memories the more they resemble fables, but if they are not triggered frequently enough you run the risk of these memories fading away over time. In response to the fluidity of memory in Flat Pennies & Other Tales I create a document of undocumented moments. I capture a physical snap shot of how those moments are remembered today.

    I base each tale in the series on a memory, specifically unexpected significant moments not captured by a camera. I draw on the tradition of storytelling and use the processes of appropriation and reconstruction to translate these memories into images that are presented with a short elliptical paragraph.

    The images are documents of small-scale sets that I have constructed. To physically recreate the aesthetic and visual elements of the memory the sets are made from a mixture of photographs and three-dimension objects. Just like our imagination, the sets weave together different layers of fact and fiction that heighten the drama of the moment. The final images are created when I explore and capture snap shots of the set with my camera, flattening all the layers of information into one document.

    To me, a memory is the essence of a moment. It is a reliquary filled with vivid emotions, saturated aesthetics and vague narratives. Flat Pennies & Other Tales are physical documents of undocumented memories giving them an anchor in time.

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