welcome to site 3//
     photography, in the popular consciousness, holds a certain amount of objectivity. there is a level of trust in that idea of photographic truth. this trust is not altogether well deserved.
     there is context missing from a photograph. the image shown is the one the photographer wanted you to see. the photograph has been edited and selected well before it was processed in a darkroom or digital space. what lies outside of that frame is the whole truth. 
     to reconcile this, i’ve turned to using a mixture of photographic processes, the most important of which are soil chromatographs.
     soil chromatography is a photographic method of qualitative soil analysis, which is a fancy way of saying it is a cheap test of a soils health. 
     combined, these two processes not only create a more complete record than a more traditional photograph, but they return agency to both the photographer and the ecosystem in which they operate. 
     the photographer interacts more closely with the world around them, and in turn, fosters a connection that other photographic methods lack. they reject the sterility of a cleanly printed and processed photograph displayed on a blank white wall, or a digital screen. 
     by projecting compositions printed onto transparencies, along with the physical copies of anthotypes and chromatographs, a viewer is able to interact with a site in much the same way the artist did. 
     the components of such an installation are to be handled, picked up, inspected, moved around, smelled, even tasted, with the hope that these actions will inspire and enable agency for a viewer to create their own records, and, their own connections with the life that surrounds us. 

suggested readings 
braiding sweetgrass by robin wall kimmerer 
dark ecology by timothy morton
anthotypes against the anthropocene by kristof vrancken 

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