While working on my "Multiple Self-Portrait Series," I became increasingly interested in the locations, sets, and installations I was constructing during production of my photographs. The uniform clad figures in the series evolved into autonomous universal stand-ins for the idea of adolescence and began to play a secondary role to the environments which inspired their actions and with in which they existed.
Influenced by the tradition of nature and the sublime in early and mid 19th century american landscape paintings, my series of landscape photographs treat their environments as hyper exaggerated frontiers in which remnants of past human interaction are evident through left over traces of people and their activities.
The scenarios often resemble what many of my previous sets and locations looked like after a full day of shooting. Many of the scenes are staged or constructed and then further altered through digital manipulation to create a world anchored in reality but predicated on fantasy, fairy-tales, fables, mythology and other narratives.
Although most of the images are devoid of actual human presence, there is a strong sense of humanity established through the wake of their aftermath or in the mimicked behavior of the animals portrayed in each photograph. In "Molting" a forest is rolled in toilet paper as three deer lay witness to the left over high school prank which emulates the hanging scraps of velvet shedding off their antlers. Two abandoned cars and stacks of suit cases filled with school uniforms clutter the foreground of a farming plantation at sunset in "Corn Field". The pastoral landscape displayed in "Cherry Island" is over run by a crowd of birds, ducks, and rabbits in a sicky-sweet, glaringly artificial, idyllic garden scene.
Distorted cinematic proportions play off the horizon line and lend a physical element to the construction of the photo. In "Snowscape," a 60 foot long scene forces the viewer to walk down the length of the photograph to read the image in its entirety. The scene melds three frozen and barren landscapes into one unified winter narrative punctuated with animal skins, snow balls, footprints, clothes-lines, and pee stains. "Poplar Trees" uses its elongated format to convey a passage of time as twilight sets in on the tree lined plane.
Within these landscapes, seemingly realistic environments provide physical evidence and visual proof of an ongoing past narrative. The photographs use the aesthetics and beauty inherent to nature and the sublime to create an exagerated pastoral scene which bares the imprint of time.