I am interested in finding my sealegs. I need my sealegs to stay balanced between all that I know and all that I see, especially as I remain adrift among an infinite swamp of imagery. I glance up at a person walking toward me on the sidewalk and their image comes to me, quick and clean and describing haphazardly, a fragment. I stare at a lover for months and struggle, caught in between comprehension of him and my image of the others waiting. Wandering through my images I come to recognize and gain control over their power to amplify, filter, and suppress how I imagine the world around me.
Exploring how images influence my vision, I mix many types. Some images seem sliced from the stream of perception flowing through my eyes; others waver buried in layers of recapitulation or destabilization expanding their potential. Fusing photographs disparate in style and made using various technologies, I catch the texture of an anonymous and yet entirely particular perception. I want to talk about the world on a level where vision and imagination become reason, on a level where my own personal visual grammar blends with and exposes the murky visual grammar of photographic meaning. My photographs tease out these grammars not like translation through a codex but like detection of the composition of a solar system according to the machinations of that system’s gravity.
Sealegs represents my collaboration with images to see photography open up the seams of the world, to create a space where vision becomes an attitude of consciousness aimed at understanding myself and the world around me. I ask: what are the bonds between myself, others, and our collective world; how are those bonds represented; and how can those bonds be untangled photographically to appreciate their opacity. Among my images I come to understand the disconnect between reality (actuality) and possibility and uncover a more faithful picture of myself and my world fashioned by the wild ambiguity of photographs.