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Potentials and Capacities, 2013

CF Card Contact Sheets
This Could Have Been
This Could Be series
Red Colored Pencil series


Potentials and Capacities

Photography has played a significant role in my history as a visual artist and I have often looked to bring the photographic image out of 2 dimensions by working with multi-media and exhibiting installations. This effort to make photographic imagery more dimensional and experiential has been an attempt to bring a final piece closer to the experience that inspired the creation.  Although many interesting works have emerged, this attempt has been a bit futile, in that, the form can never be the experience, it will always be something else, it contains the experience, but it is something else.

With this body of work, I began to dive into the distance between the experience that inspires the creation of an image and the realized form, or photograph which brought me into an investigation of the experiences prior to the determination of form; the space of the pre-determined, where infinite potential and capacities exist.  This inquiry was also influenced by Manuel DeLanda‚Äôs theories of potentials and capacities being infinite and always existing in non-linear systems but their realizations being dependent on right relationship (e.g. the potential for a knife to cut exists even if it never meets something to realize that potential). This led me to reflect on the potentials of photographic film, paper, memory cards, etc., and subsequently to remove the image from the photograph in order to question: If a picture is not realized with formal and understood qualities of representation or abstraction, then where is the image and what affects its determination?  If film is never exposed or processed, prints never made, the memory card never accessed, images still do exist somewhere as energetic (light) imprints.

The first expression in this body of work was the Compact Flash Card Contact Sheets. The silver gelatin contact prints of 2GB, 4GB, and 16GB digital memory cards reference the traditional photographic process used to view images on a roll of film and offer an entrance into the potential imagery held within a viewer and the material.  The other works in the Potentials and Capacities draw from a moment of impression and exist as a photograph where language is a visual prompt to access this infinite field.  Each photograph is this series points to this infinite potential for images to exist beyond the representation, and presentation, of a formally understood photographic image.