This is the tale of the spark that catches, grows, and becomes wildfire. The flame begins slowly with no direct path through the forest, but soon it sieges brush, marches through dense woods, and engulfs acres. An uncontrolled burn rapidly becomes scorched earth.
An idea catches like fire. Fire spreads like a virus. And miles away, all you can see is the smoke — a far off signal of uncertain distress.
In developing Thermodynamic Entropy S, I have begun to realize that the set date for literary and filmic projections concerning "the future" has long passed. I have also begun to worry that the collective aesthetic for "the future" has been only moderately updated since the 1970's. Seemingly, modern technology and its representation presents an atavistic ideal that was never attained, and thus creates an unnatural disconnect between our expectations and unmediated sociological progress.
Parallel is an exercise in re-appropriating common and mundane imagery in an attempt to document a desperate and anguished alternate universe. The series is comprised of five photographic booklets (each containing thirteen prints), two three-foot posters, and two photographic zines (both containing seven prints). Each pamphlet delves deeper into this unexplained world, acting as a sort of photographic journal presumably kept by a new explorer within this realm.
Exhibited on a table or the floor, the five onset zines are arranged in an upsidown pentagon with the final four zines positioned in a quadrilateral in the center. In this presentation, the work loosely portrays an inverted pentagram. In sequence, each item in the series is titled: Another Surveillance, Gemini, Unknown Threat, Martyrdom, and A Candle Flickers, which surround A Night in the Box / Sisyphus, The Cyrenaic Anarchy, and two untitled items.
In Romanticism, nature was typically portrayed as a vast unknown; the catalyst by which one can emote and self-explore. Since then, the Age of Reason has sought to conquer nature, potentially quashing these ideals. However, out of our technology, we have built an even grander, infinite and unchartable realm.
In November of 2005, I received a concussion. Shortly after, I read the Eddie Adams quote that photographs are only "half-truths."
A Collection of Works that All Evoke a Similar Emotion is a series that attempts to deliberately undermine photographic truth using experimental techniques and disjointed narrative. A half-truth is too much truth.
$474|\|'$ b3$7 pHR13|\|D is an exercise in abstracting the symbolism and iconography typically associated with the concept of "evil." In removing every-day imagery from its source and presenting it as "evil," the objects and settings can read more as the backdrop or an outtake from a horror film. However, forcing content to signify something outside of its cultural code creates a cognitive dissonance that can often be more haunting than the images themselves.