Despite new possibilities in technology and image production, realism continues to dominate visual media. This body of work seeks to question conventions surrounding realist images and the camera itself as an instrument for recording. Research explores connections between camera design and the perpetuation of cultural, ideological, and psychological, structures. Many of the codes and conventions present in realist images are inscribed by the camera itself, as a mechanical eye. Why does this ‘apparatus of the real’, with its specific optical arrangements, freezing of time, and geometric organisation of spacial relations, persist in dominating photographic discourse?
Roland Barthes refers to ‘militant art’ as having to remain legal, i.e. within conventional systems of representation, failure to do so will deny a spectatorial position and the image, its meaning and pleasure, will die. This project employs scanner arrays, housed within a purpose built camera, to create images free from single point perspective and released from the constraints of a specific moment in time. The work employs number of unconventional techniques when objects pass across the cameras’ field of view, or from multiple viewpoints whilst the camera moves around a subject. The work aims to provoke a discussions around the role of conventional cameras in social and cultural dialogues through the presentation of a uniquely photographic vision, one that does not seek to ape human perception.
"Wild Water," "White Water," "Falls"
Chromaluxe Ink on Aluminum, 2018.