Polaroid manipulation, Digital prints & Polaroids on mirrors & mixed media light boxes are a few of my favorite things. My approach to photography is not only to capture a moment or experience, but to see what else the image can evolve into. By using Polaroid film, I have been able to manipulate the emulsion in such a way that feels more like a painting is being made. Once fully developed, I've enjoyed dissecting all the layers and giving further purpose to each part: layering with varnish, or wax, making Light boxes, etched mirrors, lamp shades, 'quilts', etc...
The Mirrored pieces in this collection are a culmination of experiences that reflect back at you, or return to you full circle. They also explore the fine line between seeing what you think you should see, and what is actually presented to you. Other analogies pay tribute to the infamous Rorschach inkblot tests. Layering one or two images and giving them symmetry allows them to become something entirely new. I’ve applied these techniques using both Polaroid and Digital film and experimented with printing on Mylar, Mirror, and Acetate.
I’ve always been fascinated with mirrors, how they reflect not only light, but entire rooms, realities, and other dimensions. When viewing this alternate space, one is apt to catch a glimpse of something unexpected, perhaps even other-worldly. This concept has its roots in the ancient art of “scrying” or crystal ball gazing. Much later, the Victorians participated in “mirror gazing”, often done during séances to create a link to the spirit world.
With my Papier-Mache work, there is a lot of nature {trees, roots, bark} coming into play as far as first appearance; but as I work on these, it feels more internal, more about the strangeness and wonder of our bodies. And in turn relating to the comparison/connection of mind/body/nature.
The Mirrored pieces in this collection are a culmination of experiences that reflect back at you, or return to you full circle. They also explore the fine line between seeing what you think you should see, and what is actually presented to you. Other analogies pay tribute to the infamous Rorschach inkblot tests. Layering one or two images and giving them symmetry allows them to become something entirely new. I’ve applied these techniques using both Polaroid and Digital film and experimented with printing on Mylar, Mirror, and Acetate.
I’ve always been fascinated with mirrors, how they reflect not only light, but entire rooms, realities, and other dimensions. When viewing this alternate space, one is apt to catch a glimpse of something unexpected, perhaps even other-worldly. This concept has its roots in the ancient art of “scrying” or crystal ball gazing. Much later, the Victorians participated in “mirror gazing”, often done during séances to create a link to the spirit world.
With my Papier-Mache work, there is a lot of nature {trees, roots, bark} coming into play as far as first appearance; but as I work on these, it feels more internal, more about the strangeness and wonder of our bodies. And in turn relating to the comparison/connection of mind/body/nature.
