• Signs-of-disruption-1-copy
  • Signs-of-disruption-2-copy
  • Signs-of-protection-1-copy
  • Signs-of-Protection-2-copy

In Transition Three

This particular series is in development and will continue to be supplemented with new additions.

The initial images came about through observation of two contradictory series of plastic objects (modular) dispersed or strewn next to each other around a prominent hill overlooking a vast valley of endless uniform plastic greenhouses. One set of images, Mixed Signs of Protection, are of bright blue plastic meshes originally intended to protect young plants as they try to become established.

These meshes often fail to stop the plants being destroyed so and become entangled in the undergrowth. The other, Mixed Signs of Disruption, are empty bright yellow spools for dynamite detonation wire – used to blast off the whole top section of the hill to be able to form a large reservoir to supply water to the agribusinesses in the valley below.

A third set of images (untitled) are a collection of deserted bee hive honeycombs found in an uninhabited cortijo or farm complex. Each set of objects and the method by which they are captured is consistent within a prescribed typology. On the surface each separate image complies with the prescribed system. As the ground against which any object is positioned is infinitely variable then so are the ways that each object is seen and appears from directly above within a viewfinder frame. Each of the objects has a particular geometric structure and form which clearly marks it out as man-made and, therefore they stand out prominently within the environment of natural matter and phenomena associated with the desert landscape. To a degree, the objects become unshakable signs of human control and interaction within nature.

My use of digital layering explores how one might alternatively encounter these objects beyond the normal sequence of walking about the landscape and observing each object one-after-the-other and then of vaguely memorizing each encounter as a succession of images. In a digitally layered form the objects now appear more ghostly and temporal and, I hope, suggest some form of energy which I associate with the network of change within which all elements are actants. The resultant cacophony of visual overlaps and chromatic collisions begins to deny any topographical accuracy (evidence) that photography can manifest. The images aim for a blending of object and ground and combine areas which are less easy to decipher and areas which suggest a less than logical intertwining of time and space.