An installation composed of large-scale C-type prints and a 2:46 min video going in a loop.
My methodology mostly begins by going to places I find interesting to photograph. I depict political landscapes in the time of the Anthropocene. My works explore borders of landscapes- where cities collide with nature, or where oceans meet the land. Aiming my camera toward different subjects such as gas rigs, cruise or cargo ships, fishing boats, greenhouses, memorials, or different objects left on the ground. These serve to represent histories of involvement, symbiosis or struggle, economic or cultural between man and nature. After a period of time, I go back to the photos and edit the selection by choosing compositions that take influences and react to different artworks which have influenced me over the years.
Alongside my photographic work, I developed a new performative aspect of my practice. The making of the prints is the main part of the process, one that verges on the performative. I become very much aware of my physicality, power, and body in the darkroom. Like a painter with light, and within acts of releasing force, suspension, or repetition, I explore matters of movement and color. Inevitably, the resulting image is blurred – moving the image away from its former figurative state . From each negative, I am producing a number of different prints, which can never be the same.
This experimental technique allows singularity over the remaking of a specific image, over and over again. I cannot repeat exactly the same movement and therefore cannot produce the same print. Each work is a unique singular creation, like a memory that is ever-changing in a state of constant transformation. Forming a new photographic image that is in a liminal state between stillness or movement, past or future time, and between the pictorial and the nonrepresentational.