My artwork is based on environmental science and my interest in the impact of human refuse on ecology and the global environment. Photographs of landscapes often depict a pristine environment that is devoid of any human imprint. However, the reality is that byproducts of human consumption such as plastics and other refined materials are omnipresent. Using plastics and other synthetic materials to create representations of natural landscapes, my photographs examine this conflict and illustrate how refuse is in many ways here to stay as a presence in the landscape, perhaps forever.
I work in a studio to set up each scene, and often include appropriated images taken from various media sources in my setups. By working indoors with imagery drawn from image culture, I hope to emphasize ways the idea of nature is often formulated at a distance from the processes of the natural world and fictionalized through technology and the conventions of photography.
The Nature of Instability
In this project, I suppose a world where objects of everyday use harmoniously overlap with forms of nature. As clothes hangers hover like frozen birds, or the light of a lamp becomes like that of the moon’s, a poetic sense of coexistence between human-made and organic form emerges. This pensive balance teeters between real and imagined, possible and absurd.
Accordingly, the work is characterized by contrary relationships. An ordinarily clear-cut division between artificial and natural materials becomes disrupted, or visually tangled, creating a noticeable misrepresentation of reality. As the photographs engage in formal play, a peripheral sense of environmental tension seeps into each scene’s harmony.
There is a troublesome impossibility to the idea of the natural world exhibiting a sincere embrace of the synthetic. Even in the illusions of these photographs, it is difficult to reconcile a true sense of peace between the artificial and natural forces that meet to create the landscapes of our world.