Close to Something
For this project, I began working with photographs taken by my father. He worked as a mechanic for years, and I grew up spending time in garages watching him rebuild cars while he documented the progress. It’s something I've always been drawn to, even if only subconsciously at times, and has been a major influence on my creative practice. When I started, I thought about how dedicated he was to his craft, sometimes spending years on one car. I thought about my time spent as an artist, and the endless hours of toiling over one project at a time, and the parallels between these forms of creativity.
Vernacular traditions and the appropriation of them in the practice of photography is something that I have been interested in. With the invention of smart phones, the world is now so hyper-documented and, in this context, appropriated imagery has become increasingly important in photographic practice. Through photographs, the world becomes a series of unrelated, freestanding particles. They are fragments of time, capturing details of things that might have been previously overlooked. Such details can reveal depths of meaning that might otherwise be lost.
The way we read a photograph is dependent on our own personal experiences. The subjective nature in which photographs are experienced speaks to the relationship between visual culture and identity. What role do personal snapshots play, and what is our relationship to them? bell hooks wrote that personal imagery offered a way to remember, to overcome loss, and to keep history. The photos I used are tangible, singular, irreplaceable objects. I have no negatives. They are several parts of a family archive, fragments that fit together to form something new. A collaboration of sorts.














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