surface scan, fragment stage, 2015, projection from scanned fragment of reflective mylar
In my installations, I re-stage the material qualities of photography. I use reflective mylar and mirrors to capture and play with light, calling up an analog, film process. By printing on transparent acetate, I am playing at making film in an absurd but sincere way. For example in flood prop, I created a composite of Venetian flood scenes and then set the acetate print on casters, asking the print to perform. It becomes a prop meant to mimic a deluge, rendering it pristine.
In surface scan, fragment stage I scanned a piece of torn, reflective mylar. I created a specific stage or ground upon which the projection can retrace the fragment. Through the projection of the image, the abraded surface starts to be akin to abstract painting and drawing.
I like to think about the surface qualities of digital image files, giving them grounding and structure. surface study is another rendering of the mylar marks, reprinted to further flatten the material. Its place at the window, along with its awkward margins make it almost not there. It poses as a kind of negative in response to the projection.
There is a futility in my aspirational rethinking of materials. I want to create a space we don’t have. We can’t experience touch or texture via a projection. But the seams of this illusion are fundamental to the theater I enliven
surface scan, fragment stage, 2015, projection from scanned fragment of reflective mylar
surface scan, fragment stage, 2015, projection from scanned fragment of reflective mylar
