The Bent Path

For a while, I sensed something growing — an unease in certain things I couldn't really make sense of anymore. There were more and more strange images hovering around me trying to build odd worlds, make potent promises, or deliver distant escapes. I suppose I was trying to find ways to rethink how we read, related to, and relied on so many of these images and the illusions left in their wake. But it was the idea of ‘reframing’ that became vital in this search. And I sensed it needed to be something more than just another quiet invitation to “look more closely.”

I knew the seduction of our images and appeals intimately well, from the insides of their making — images that were often made for mere approvals alone. They were often meant to leave viewers undisturbed, with little more to do than move on. Still, I couldn’t help but feel an underlying insult in all that. It was diminishing the roles we could offer audiences, their attentions, and their need to question things. In reality, their capacity to discover broader layers of meaning was largely being overlooked. Often, we just assumed that this was the proper way to frame all ‘seeing’ — as though it were somehow in service to all others.

In practice, the idea of ‘reframing’ became a powerful metaphor in all this. We do live by frames of seeing and belief in our ongoing, everyday lives. And finding ways of reimagining them was how I thought I could somehow, quietly intervene. The relationships between one and another, giving and taking, or parts and wholes — when used in symbols and thinking — could profoundly change how we experienced a meaning. A small change in that arrangement could have large consequences for the things we might find. Something that seemed uneventful within a single frame could become potent when it shifted to reveal the others surrounding it — frames that might otherwise go unnoticed. That became the foundation for these bends and shifts in these works.

It was about taking light and giving it back through mirrored projections. Or it was moving several cameras over the same scene across different moments in time and space. Or it was illuminating the forgotten crevices and corners in our familiar landscapes. Or at the very least, it meant finding atmosphere and hidden qualities in the spaces we often blindly walked past in our daily routines.

It led to philosophy and mystery needing to belong together. The works grew from that very impulse. They asked viewers to edge into another way of seeing, where relationships were built, rather than given. That meant there was always room for more to happen, something neither of us could ever fully imagine alone.