Untitled, 2014  Filmmaker, theorist, and author Hito Steyerl's essay titled I n Free Fall: A Thought Experiment on Vertical Perspective,  makes the claim that falling and floating are essentially interchangeable —falling is only relational to the ground. When there is no ground, falling may feel like floating. I take from this that concept depends on perspective.  There is comfort in what we perceive as the act of “living” – an act whose manifold, unceasing performances allow us to believe that there was once a unified whole that specific events have caused to be broken. Within this notion, we have the choice to fall or to float. Both options are simply different ways of coping with the reality that we all come into existence with only a vessel and pile of scraps to our name.  The act is in their assemblage.  The concept of the work here is completely dependent on the process of creating it, which is an act of apprehension.  Apprehending the scraps as they present themselves aids in turn the ordering of perceptions. Each photograph is deliberately composed in order to portray a sense of artifice—artifice being used as a tool of comfort, of removal from that overbearing obligation we feel to perceive wholeness where there are only parts.  The dimensions of these photographs reference the size of a small television set, or rooms in a dollhouse—both vehicles used to represent what we live everyday.  The central photograph is the only semi-abstraction within the series, but in the way it is composed, it too resembles a room that can be entered. These items on the shelf – unlabeled boxes with no contents, a stand with nothing to hold and souvenir jar of baseball diamond dirt—are nothing but pieces of transition, parts of a whole, modes of organization that have little to no use or meaning. In each of these photographs, the object provides clarity unto itself: ungrounded by function or our perception of what they should do or be, free to float or to fall.  This clarity, I hope, will aid in not hiding but rather in distinguishing the artifice latent within each of the objects or scenes presented  – the kind of artifice that helps us cope with otherwise unexplainable existence by allowing us to explain it ourselves, on our own terms.
 Untitled, 2014
 Untitled, 2014   
 Untitled, 2014
 Untitled, 2014
 Untitled, 2014
 Untitled, 2014
 Untitled, 2014
 Untitled, 2014
prev / next