I find it intriguing how our minds try to make sense of things by filling in the blanks with experiences and memories. Here Nor There is a body of work that exemplifies this frame of reference. At first glance, the images seem familiar and real, our minds filling in the gaps, and at second glance, a bit more curious.

My specific vision of the work as a whole illuminated a method I found fascinating to explore. At a lecture by Stephen Shore, he expressed some of his images as being a result of his exploration of the camera in relation to 3D spaces translating into 2D. I find it similarly fascinating playing with the idea of scale and how subjective camera angles and lighting can alter perception.

Creating miniature landscapes (tabletop size) in my studio, I photograph them to look uncannily real. Experimenting with slow shutter speeds and materials to create atmosphere, working the lights to create time-of-day and composing the shot for the story, when viewed through the viewfinder, the landscapes come to life in a fascinating way.

After photographing the landscapes, I photograph real people to interact within the landscapes. Bearing feelings of joy, wonder and solitude, the illusion of the vast landscapes isolate the singleness of each individual while providing the space for the characters to act upon internal feelings of being-in-the-world.

Pursuing this body of work allowed me to explore photography and my imagination, challenging perception of reality in a fun and imaginative way. Revisiting dreams, memories and experiences, it was like I was ‘there’ again. Having a sense of freedom. Wanting to scream out to the world. Wandering to who-knows-where. Feeling alone. Feeling joy. Feeling alive.

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