Temporality

Thematically my photographs redefine approaches to the landscape, creating an awareness of presence with one’s physical relationship to the landscape. These passages in sequenced time--‐exposures and direct descript photographs depict notions of the unknown by recording phenomena that is all too familiar to us, without necessarily seeing it. Using time as a pendulum between illusions and redolent depictions of our environment the photographs explore the idea of trace as a phenomenology of perception. Experiential perception allows for sensorial imaginations that lead us from one thought to another and, in effect from one photograph to another as a temporal yet sequential succession. Trace is not purely a response to an image; it is something that the photographer embeds within layers of time. These perceived illusions, or photographs, act as mediation between our existence and time itself and are based on the activity of the world around us, not necessarily our interventions with it. Paradoxically, it is an embroilment within the image that we decide. It is mediation reflected as a flow of time, and put simply, it’s just a photograph of what we know but don’t necessarily see. Using analogue photographic processes, the context of the work is anchored within the methods and processes used. These include the use of large format cameras (primarily a Graflex 4x5 inch sheet film camera), and constructed/made cameras designed to ‘live’ within the landscape for anywhere between 24hrs to spanning over a full year. This time span depicts the length of constant exposure the film receives. In this instance the camera stands alone without intervention. The thin layers of time embed themselves within a sheet of film to create a reality, awareness, and control of time that we otherwise would never see