Photography is a trick of the mind.
We are conditioned to believe that the photograph is a representation of a recognisable thing or person in a recognisable place and time. Our mind then sets about figuring out what it is and making sense of what it sees: making it real.
But what if we cannot recognise the object or the time? How then are we to reconcile the reality of the photograph? Technically, it’s still a photograph: but our perception of the captured object changes as we seek to reconcile the unrecognisable…so is the photograph still real?
My work seeks to explore this liminal space between the nature of what is known or expected and what is actually seen; exploring this paradoxical expectation of a photograph to represent a location in the world – but which instead provides an abstract geometric field that cannot be understood with our existing knowledge of the world from which it is derived.
In this state of dislocation, the viewer might imagine other possible meanings from the fragmented elements presented to them and become aware of how their perception engages with the visual field. Not to reinforce their signification, which is conditioned by society to order and control, but to dislocate them so that they see what is there and not what is meant to be.
If I succeed, then the viewer may see themselves seeing in an unconditioned way and perhaps extend their unconditioned gaze to the people and the world around them.