Line of Communication (2011-2013)
In this body of work, moments that span great distances of time and space are visually connected, the specific sequences creating an implied narrative. One image is connected to the next by a thread, or line, like a visual game of telephone. These sequences suggest a journey through an unfamiliar landscape, while encouraging the intimacy of meditation on carefully selected details.
These photographs are made using a camera with attached GPS unit to explore spaces that function as intermediate zones in terms of time and use. A telephone is embedded in a hedge in a graveyard; a baseball backstop faces a silent field of mist; a glider wing appears to hover while being anchored to the ground. While the location of each of these seemingly insignificant moments is codified as coordinates of longitude and latitude, the quiet poetry of the images forms a point of departure from that specificity. In the interpretation of seemingly open-ended spaces, the distance between points becomes less noticeable.
Piero della Francesca (15th Century), in summarizing his views on perspective, listed the following five components of the viewing experience:
First is sight, that is to say the eye; second is the form of the thing seen; third is the distance from the eye to the thing seen; fourth are the lines which leave the boundaries of the object and come to the eye; fifth is the intersection, which comes between the eye and the thing seen, and on which it is intended to record the object.
Here, perspective is described as a coordinate system for understanding the science of optics. In my work, I am using coordinates as a way of tracking chance points of reference that I encounter while photographing the landscape around me, to seam together a new chain of visual relationships and connections.