Since Walter Benjamin's claim that photography has no aura due to its inherent property of infinite reproduction, the photographic medium has come full circle. A photograph is now understood to have presence, especially when it exhibits discrete qualities like the mottled patina of a vintage print or the seamless polish of a digital image.
In a form that knows its way around,
the photograph is pushed to reveal its idiosyncrasy, its dual-nature as both the means of description and the thing described. The real and illusory, present and represented coexist within images, occurring as black bands and patterned surfaces that optically shift between the graphic and dimensional. These dynamic visual modes demonstrate the ways that photographs suppress, alter, and distort space. Outside of the frame, the photograph-as-thing exhibits its materiality–its hybridity–as the medium in which the image resides and as tangible, physical matter in its own right. There is wood–solid, rough and real, and then there is a photograph of wood–thin, smooth, and pliable.
Fundamentally, a form that knows its way around
playfully and critically engages with the nature of photography, suggesting a more expansive engagement with the medium than its popular conception as a window onto the world.