Silence in B-Flat critiques individualistic, surveillance-centric natures of the built environment and investigates localized histories through dreamlike layering, and toys... Read More
Silence in B-Flat critiques individualistic, surveillance-centric natures of the built environment and investigates localized histories through dreamlike layering, and toys with time by blurring the boundaries of verisimilitude in a photograph.
In Silence in B-Flat I, by making hundreds of exposures and selectively averaging frames, I assume editorial control—toggling the positions of stoplights, illuminated windows, cars, and pedestrians. The resulting scenes reconstruct time nonlinearly, creating new narratives—scenes that could have happened but didn't necessarily occur all together, in the way that they are presented. Yet for some pieces, a single frame looks virtually identical.
This process creates a surreal rendering of the scene that appears simultaneously authentic and unreal (almost painterly, as the process removes nearly all photographic noise, heightening the smoothness and impact of color gradients through no other manipulation), raising instinctive questions about the veracity of the scene. This ambiguity impacts the trust the viewer may have in the images as a photographic record.
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