Film/Still, 35mm color reversal film, 2012
Present in all of these images is a consideration of being immersed in cinematic spaces—those which are both tangible and fictitious.
I'm drawn to portraits of the conflicted, sometimes floundering, male protagonists who are at the center of many of the films I watch. Immersed in certain romantic dilemmas, they're unable to locate or commit to love. In them, I see past, future, or occasionally present versions of myself. Other images are the result of purely formal curiosities or fascination about the place in which a film was made, the person who made it.
What are the effects when motion has been suspended and traces of a motion picture—once celluloid, transferred to video, and re-photographed onto 35mm—become visible? What significance does the residue of this exchange hold when images are then brought into the computer? Frozen in the form of an inkjet print? These photographs are part of the varied, intimate response to cinema that is central to MMXIII.
