Folded Landscapes I
Memory | Volume | The Slow Haul of Geology
I’m looking at the very bottom of the Western Interior Seaway, folding and draping landscapes, in and over interior spaces, using light and photography.
This practice grows from an inquiry begun in 2013 around orogenic suturing (one geological phenomenon of mountain making) and thought production, and the ways in which our psychology, from a nondual perspective, operates more like geological forces than we realize now.
A note on process…
The secret to the Motown sound is the echo chamber. The soul clap’s reverb sound is the result of recording in the basement, wiring it to a vaulted ceiling in the roof, and re-recording it.
This is how I work with landscape. I record landscapes, and send them into variegated shapes on interior architectural spaces. This is much in the same way that we can record a memory in a photograph, put it into our back pocket, and pull it out 20 years later, and it appears completely different, or, record a clap, send it to the ceiling through a speaker, and re-record it’s richness and all the nostalgia that it took along with itself through copper wires. The net experience is akin to episodic memory.
I hope that these works question the absolute and the relative moment- what is projecting, and what is being projected. Beyond this didactic narrative, a moment of suspension is what peeks my highest curiosities. At once flat and holographic, these particular works consult mountains as three dimensional chunks, and ancient oceans as potential immersions.