My mind inevitably represses the insignificant moments lived between the definitive. The images represent futurity of the mind; how my mind will produce memories I am currently creating. This defies traditional methods of photography and the notion of it being a depiction of truth and reality. For this reason, the 35mm colour images are purposely out of focus to conceptualise my impending memory of this city: the traffic, neon lights, the seemingly never ending construction, the longing for a non-obstructed view of the sky. Drawing inspiration from Uta Barth, the obscure images embrace the effects generated by the lens. As time goes on, often all that remains are the tragically beautiful photographs of locations and identities that cease to exist.
Time is indirectly referenced by photographing decaying fruit over the course of a few weeks. Attempting traditional means of still life, most notably inspired by Dutch paintings with a robust amount of objects in frame. There is also a combination of the modern means of still life, that being more muted and simple or minimalistic. Apart from the fruit, the competitions include the human hand, dead plants and empty bottles. An Apple A Day is an exercise in photographing still objects within a studio setting. The opening and closing photographs highlight the life cycle of the fruit from growth to garbage.
By photographing the same object over the course of ten days, this project documents the passing of time in the form of a bunch of bananas. As the bananas go from green/yellow to increasingly bruised, I eventually froze five of the initial seven to create banana bread. In the middle stages, I created comedic compositions using Photoshop, such as the banana growing from an Oak tree branch, and the half ripe/half rotting banana (day 1/day 10). This series displays the versatility of bananas and iconic references, such as the "banana phone," and the Banana Peel item from Mario Kart.
This series of black-and-white photograms is an ambiguous depiction of an invisible illness by displaying the decline of physical health within the immune system. Mental disorders do not cause physical health decline, however it does lead one to be more prone to catching sickness. According to SimplyPsychology.org, “when we’re stressed, the immune system’s ability to fight off antigens is reduced. That is why we are more susceptible to infections”.
This project was ultimately inspired by vintage black-and-white biology photography and photogram artists I learned about in lectures: Laszlo Moholy-Nagy, Man Ray, Lou Landauer, and Josef Breitenbach to name a few. With the use of solarization applied to photographs and photograms, I am able to create organic forms which are comparable to microbiology. The photograms are depicted on a black background, the scanned film on a white background. For the photograms, I would place an object over photo-sensitive paper and expose it to light half way through the developing process. I brought the film scans into Photoshop and digitally replicated this process by inverting the curves. In both cases, there are instances of digital manipulation using various adjustment tools, masks and layers.
A project about navigating life with social anxiety by replicating my reactions to uncomfortable social interactions. I captured these mannerisms with a scanner opposed to a camera to embrace distorted pixels caused by movement. This technique is an imitation of how my mind alters reality. Social anxiety triggers many uncontrollable reactions from a racing heart, unwanted and invasive thoughts, raised body temperature, shaky hands, biting nails or needing to resort to a safe spaces by avoiding eye contact or covering my face with hair, hands or my phone.
Prompted based on the word "nothing," I approached this by thinking of things typically ignored in photography. While rummaging through old family photos, I realised how little attention we actually pay to the back side of printed images. Arguably, the backside might be the most important part of the photo in terms of archival purposes. Without the date, the information about when it was taken is lost. Among a bin of hundreds-thousands of images, the dates are impossible to remember in every single instance. Today, most of this information is automatically stored, but in the early 90s-00s most people were still shooting with film and getting them printed at grocery stores. This collage flips the literal images to create new piece which focuses on interesting markings and otherwise overlooked features such as paper and ink variations.
Driven by a childhood fear of darkness and being alone at night, these dark, empty scenes appear as serene, rather than sinister. Inspired by how we can alter reality with a camera, the photographs were taken with exposures of 30 seconds or more, documenting objects and nature found within Montreal parks after the sun goes down. This project explores how these spaces are physically open to walk into, but considered to be “closed” by law. The lack of life allows the viewer to presume their own interpretation as to why no one is visiting these parks at night and why the fear of the unknown associated with darkness. The places photographed consist of quiet enclosed parks close to my daily ventures: Angrignon Park, Parc Garneau, Sir George-Étienne Cartier Square, Parc Saint-Jean-de-Matha, and Parc Ignace-Bourget.
In this series, I test myself to literally “watch what I eat,” while unaltering my decisions to fabricate an idealized version of the project. From a very young age, I was subconsciously led into a sugar addiction, guided by the Golden Arches. As an adult, I am constantly dissatisfied with the meals I cook because of the taste, and the idea that they did not look like the recipe’s photo. At the end of the two months, most of the meals would be from restaurants due to the cravings, laziness, or lack of time, which lead to weight gain and loss of money. The meals that were cooked can be considered amateur or typical for a student: quick and easy.
A ten-photo series revisiting the spaces of my adolescence, one year after my brother's suicide. The series concludes with the location where my immediate family celebrated Logan's life after his passing in 2018. Each photo has its title and/or date (2008-2018) digitally integrated within the scene. The years indicate when the respective locations were most prominent in our lives. Four photos contain only the date because the title is naturally part of the scene.
A Photoshop exercise on digital manipuation. I chose to recreate 70's rock album covers, experimenting with studio lighting. This challenged my Photoshop skills using various techniques and tools such as filers, masks and layers.
This project is inspired by love similes, and visually represents the infatuation I feel towards my partner. While serving as an extention to the project, My Reflection, this project focuses on smaller sections rather than the whole of the body, emphasising the idea of intimacy. These photographs were printed at 8x10" and 11x14" allowing the viewer to spend time with each image to reiterate the idea of studying your partner as you're sat across from one another.
A series of double self-portraits of my partner and I exhibits instances of tenderness and lightheartedness through both private intimacy and public presence. Despite any hardships of the outside world, our intimate relationship benefits the growth of each other. When another being provides light to your world, it brings an impulse to celebrate it; I photographically document the small moments throughout our day that tend to be forgotten. The mirror is used as a repeated object throughout this series beause it provides a closer look into our relationship. Rather than to be seen from the third person, you're looking through the literal lense of our eyes.
Portfolio accepted into Concordia, Fall 2018