Adulterations
I like to collaborate with my cameras and with the negatives and prints and encourage chaotic interventions or minor catastrophes. I allow for accidents of light or focus to add unforeseen results. These imperfections are the photograph’s manifestations of its own memory and experience. Film and print become living things.
I find certain images need to be adulterated so they can be visually amplified. Negatives are burned or stabbed, prints torn or crushed: a gesture of the hand may be needed. This unfreezes the photograph to allow for the locked moment to continue forward into the present.
