inkjet on tyvek, size variable, edition 5, 2016.
Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels).
I shot the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tinted the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.
watercolor on pigment print, 20” x 16”, 2016.
Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels).
I shot the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tinted the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.
watercolor on pigment print, 20” x 16”, 2016.
Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels).
I shot the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tinted the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.
watercolor on pigment print, 20” x 16” each, 2016.
Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels).
I shot the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tinted the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.
watercolor on archival pigment print, 47" x 72", 2016, ed. 5.
Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels).
I shot the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tinted the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.
watercolor on pigment print, 44" x 37", 2016. Edition Variee 5.
Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels).
I shot the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tinted the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.
watercolor on pigment print, 44" x 37", 2016. Edition Variee 5.
Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels).
I shot the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tinted the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.
Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels).
I shot the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tinted the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.
inkjet on Tyvek, size variable, 2015. Installation shot.
Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels).
I shot the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tinted the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.
inkjet on Tyvek, size variable, 2015. Installation shot.
Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels).
I shot the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tinted the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.
Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels).
I shot the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tinted the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.
inkjet on Tyvek, size variable, 2015. Installation shot.
Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels).
I shot the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tinted the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.
pigment print, 20” x 16”, 2014.
Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels).
I shot the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tinted the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.