My recent work has been an investigation into the hierarchical nature of documentation, the prevalence of the ocular valued over any other sense. I am particularly interested in a haptic form of evaluation through visual documentation of physical activity, particularly with regards to the exclusion of the haptic in appreciating past events relating to objects.
The images intercept and fold into each other: the collection of photographs forms sets and subsets. Rubik is a set of six, Grapes is singular, and Test Cubes could be seen as infinitely expandable. The grapes were treated as puzzle, the puzzle as solid, and the test as toy.
Each image is a document of a moment of sculpting - sculpting understood as a haptic interface with an object. Squeezing, turning, rubbing, pushing and balancing can now only be cognitive reenactments. Due to the ‘cut-out’ style of photography - so prevalent in our everyday experience - even optic sensations such as colour become obsolete.
All of these photographic documents serve as a stage for the object to perform; in a Brechtian sense I want to highlight the separation we have from the objects that surround us, by presenting them with an overtly documented aesthetic. The alienation the viewer has from the sculpting mirrors the alienation we have from products in general. They are a shared event, to which no one has access.
All photograph is a 20x24 inch fibre based black and white print.