Photographing hundreds of individual images to explore the passage of time and the substance of space, I seek to create incredibly detailed pictures of the fourth dimension. These canvases take two distinctive forms: photomosaic collages of separate overlapping prints and seamless panoramic views.
In my seamless panoramas, such as “Imperial Sand Dunes,” hundreds of individual photographs are meticulously composited and masked to create what appears to be a single moment. However, on closer scrutiny what first appears to be a straightforward scene reveals a curious bending of reality. People and objects pop up several times across the picture, hinting at the passage of time and the artificiality of the image.
It is not just one moment, it’s many moments and many viewpoints put together to convey what a place feels like. We do that all the time in our heads, assembling a myriad of individual threads to create a tapestry of memory. By compositing many discrete photographs, I attempt to recreate the rich and nuanced tableaux I am witnessing.
In my more abstract photomosaic collages, these individual photographs are layered to form a 2-dimensional sculpture of 4 dimensions. The angle of the camera shifts, the object moves and time passes, but these disjointed bits are woven together to create a new reality. “Joshua Trees,” for example, is composed of hundreds of separate 4x6-inch prints shot in the Mojave National Preserve over several months.
Art can transcend mere appearance to reveal significance. Photography provides me with both an opportunity and a responsibility. It is my duty as an artist to tell my own truth, or at least tell a good story.