The four triptychs make up a discreet body of work - a meditation on the mysterious idea and feeling of transition - a space created to animate potential and facet within. It looks at the tension of opposites – out of which rises consciousness – in conjunction with some principles explored within modern quantum physics.
Each triptych is made from one double exposure shot on 120mm film. As ever, they involve no kind of digital manipulation, that being essential to the work itself. In this, they are also a comment on the current nature of representation - looking at what ‘analogue’ may be, in contrast to ‘digital’.
Each triptych is printed as a singular photographic print imbued with textures that hearken back to the time when all photographs were objects; irrefutably captured on film and exposed onto paper, which, as medium, in its vulnerability to time’s ministration, echoes the fragile yet tensile nature of humanity.
The photographs were shot one afternoon in March 2013 in South Africa.
___
