In Passing
I am interested in the phenomenon of movement and how it affects our perception of our environment. With an increase of speed, we lose the ability to see clearly; our movement makes the landscape seem less defined. Yet our minds can take an assortment of broken, distorted impressions and fabricate an image of a complete environment. We fill in the blanks to make a whole vision. The images in this body of work are from digital video; the stills are taken directly from video recorded while driving through New Mexico. The experience of moving through space is contingent upon the mode of travel, and creates different sorts of memories. As humans have come to rely on machines to accelerate movement, we in turn depend on technology to capture and reproduce the momentary experience. Our recall is supplemented and often dominated by the photographic record. Yet the reproduction, or attempt at description, of the ephemeral quality of moving through a landscape is one we attempt over and over. The world captured by the camera appears vastly different from the one experienced and remembered. The intervention of technology and the distortions, failures, and digital artifacts in this reproduced world reinforce the dissonance between the human eye and the camera.