The Only Paradise is Paradise Lost
In these large-scale color images, I aim to further the dialog between aesthetics, content and form.
Many of the images have an easy natural beauty, punctuated by human influence that ranges from aesthetic manipulation to terse interruption. Industrial piping snakes through a Japanese garden whose upkeep was left surprisingly visible to visitors. In Barcelona, lush vegetation stays contained, as if following a mandate, behind a sign prohibiting unauthorized entrance. I utilize beauty as a democratic entry point into the content, but that beauty isn’t innocent. In fact, its easy entry is a subversive gateway into layers of epistemological questions about nature, humanity and time.
Like the photographs themselves, the idea(l) of ‘Paradise’ is a striving to obtain a past that can never be achieved, because, like the grand editing of our memories and of our cameras, it never really did exist.