As a photographer, I’m interested in breaking down the subject/object of the photograph, the “how” we see as opposed to the “what” we’re looking at. I’m tired of pre-visualization, and...
As a photographer, I’m interested in breaking down the subject/object of the photograph, the “how” we see as opposed to the “what” we’re looking at. I’m tired of pre-visualization, and lust after the spontaneous, emotional and the possibilities of chaos.
These images are made using hand-made curved-back 16x20” paper-negative pinhole cameras. Because there is no viewfinder, I can only approximate what the camera will record, and it is through my process of the unusual development in a traditional wet darkroom that the composition of the image is composed and completed.
I am interested in the free-jazz of Ornette Coleman, Albert Ayler and the later work of John Coltrane when contemplating these images, when trying to make sense of a world that makes no sense to me. These are visual jazz solos where everyone plays at once, where horns are overblown and chords and traditional structures are thrown out the window.