Ditch

2017

With the camera reduced to a mere recording device, I assumed the role of explorer using a process with nods to the earliest photographic arts. Ditch draws from broad perspectives that examine these artificial landscapes lacking in temporal fixity. The method of depiction of these embankments, unidentified locations, and disquietingly ersatz landscapes pays homage to artistic notions of unity, composition, and technically correct image making while allowing the imperfect 1840s process of cyanotype to return handmade aesthetics to otherwise unexceptional visual records.