Location: United States
I present to the perceiver an organic conception of the universe. Alternative methods and techniques are employed to dethrone the Alberitian ocularcentrism that continues to dominate the medium of photography to this day. She is liberated free to rejoice in her “supra-effigietic” existence. The perceiver takes on a voyeuristic role while she (“la photo”) lies bare with all her organs to be exposed rearranged, decrypted and integrated into reality. The main question is that if photography is an imprint of reality than what might one deduct from such an act?
Blue Mountains depicts a world driven by kinetic female subjects (incarnations of the “Femme-paysage”). She hovers between multiple existences, her body integrating into a universal landscape as the world swells and contracts at her every move. A Frenetic nature is achieved through multiplicity or rather a fracture of place time and space. There are four governing principles.
Principle A.) The crown of a 神輿mikoshi(a portable Japanese shrine) is a recurring motif because it’s highly emblematic of the “Femme-Paysage” (an empty receptacle that travels the land embottling spirits that dictate the fate of a given town country or even the universe.
Principle B.) Shared experience and cultivation of the accounts of individuals could be employed to reveal the nature of existence.
Priciple C.) Art has spread its limbs in all directions or rather all limbs have returned to art like in the days of Dionisiac delirium when humanity delectated in and celebrated the mysteries of life.
Principle D.) I imagine art as a world that overflows into the totality of experience redirecting or shaping it to its will. Beyond that it is impossible to imagine a specific list of qualities that are artistic or non artistic.
The Blue- Mountains series is a cornerstone body of work because it’s a proposition of the fecundation of the world as art. My existence is a window to a higher yet undetermined spiritual existence. Through branching the individual with the “au-déla” it generates a reaffirming experience within the individual.
Blue Mountains is a photographic series which explores the fecundation of the world as art. Through stretching the boundaries of photography and perpective the perceiver meets the limitations of 'reality.' In a 'representation' that fractures time and space does art precede life or is there perhaps a symbiotic relationship that takes place between life art? In order for the viewer to unlock the meaning of the image there's a process of decoding that must take place which leads one to ask the following question.
where are images?
Are they physical objects/ entities or are they something more complex and if so what is their role in the constitution of 'reality.'
“Blue Mountains 3”
