My interest in image making is informed by the process through which photographs are produced. In our mediated society viewers are constantly confronted with photographic images but hardly ever consider the process involved in the making of these images. Unknowingly the viewer’s understanding and experience of images are informed by the photographic process. The process then, as much as the maker, has a vast influence on the formal qualities of an image and the construction of its meaning.
In my photographic process of image making, I use a variety of photographic media and devices to create images. I do not stick to a single medium or device because for me each of these creates an additional layer of meaning on top of the meaning evoked by the content of the image as well as the nature of the photograph as object.
Currently in my work I use a scanner as well as a digital camera.
In the process where I use a scanner, I aim to deconstruct the traditional capturing of photographic images. I create images this way by scanning found objects as well as readymade images. For me, the image created by using a scanner can be equated to the photogram created in the darkroom. Creating imagery with the scanner generates images in accordance with its own principles of construction. These principles manifest as specific formal qualities within my work: a very shallow plane of focus, reflections of the scanner’s light (the scanner sees itself), digital artefacts caused by light refraction and dust particles sitting right on the picture plane. These formal qualities, usually eliminated from photography, becomes an important physical element crucial to my work by being a major consideration for how I make a composition.
My intentions with these remnants of my process are to emphasise the picture plane. In doing so the subject of the image is displaced outside of its normal context as exaggerated, illusory abstraction. These abstractions are clearly understood as different from the object it represents. I feel that this deconstruction of the traditional photographic process transforms photography into the construction and imagination of reality itself.
Where the digital camera is part of my process I push the digital technology to its boundaries in order for the process to become evident in my work. I achieve this by manipulating technical settings to create highly textured images. In addition to the monochromatic grain texture of the images there also emerge coloured, specifically red and green, textured grain patterns. This coloured texture emerges because of the physical architecture of the digital sensor itself. Thus the digital sensor begins to create visual traces of itself within the content of the image.
With these remnants of my process, my intentions are to bring into question the validity of the reality represented in the content of my work. It also serves to emphasise the liminal nature of the digital image.