This work explores the story of a magical past, my boyhood love of creating dioramas, and using the aesthetic properties of the photographic print itself as a means to engage the viewer this mysterious narrative, at once futuristic and nostalgic.
To create each image, I construct and photograph miniature sets that I create out of found objects, and various other materials. I combine photographs of these carefully lighted sets with photographs of people and life-size props.
The final digital image is then sent through a series of laborious and anachronistic processes. The color information from the digital file is broken apart into color-separated negatives. I then reassemble the image layer-by-layer, using a combination of cyanotype and gum-bichromate printing. Slowly, the once perfect digital image now rematerializes as an imperfect one of a kind object. No two prints are identical, and each carries it's own magic. Gum printing allows me the ability to make gestural effects in the final steps of development that enrich my exploration of distinctions between photographic realism and painterly illusion. This printing process is a crucial step that viscerally transforms the photographic object itself, intuitively connecting the time period of process to the time period of narrative.
By merging contemporary post-production techniques with the pictorial elegance and aesthetics of 19th century printing, I"m able to bring together the fascinating worlds of science fiction film narratives, within the scope of historically significant photographic printing methods.
The Shrouded Mire
The Uncertainty Principle
Encounter at the Well
The Self Insquisitionist
The Dance of Cthulhu's Daughter
The Wax Tickler