Everywhere Dead End is a project to find traces of traces in the desert of the American Dream, and beyond, in the dead zones of global modernity, where oddities of accumulation and patterns of waste are generated by cycles of consumption, on sites found only afterwards, in the epiphenomenal borderlands of a civilization puttering carelessly toward ruin. An anthropology sans the appearance of a single human subject, these photographs ask “why and by whom has this world been left behind?”
These works have been configured as a photographic installation—one that performs the cycle of consumption, waste, and re-circulation of the commodity world that inspired them. Using this series of photo prints, hung on the wall as tear aways in a stack or on a roll, each photo is individually exhibited for a day before being pulled off, crumpled into a ball, and discarded on the floor where they become a growing mass of detritus among the other objects in the installation.Through the ritual act of consumption I hope to challenge the privileged value of photographic art by conflating its meaning with the casual consumption and careless circulation of the photographic image; moreover, investigating the relationship of both with the particular kind of ecologically-conscious photography which attempts to ‘show’ our endangered world to us while also demonstrating our role in endangering it.
Various works in this series:
Urbstract A growing body of still lifes depicting ordinary objects and spaces through a method of perspective and framing that render the subject inscrutable and alien. The series aims to bring the viewer into a critical dialogue with the concept of world building through a reevaluation of the relationship between the urbanite and their environment.
Water Feature is a study of the material refuse found around and within an artificial pond created for a suburban neighborhood of million-dollar-plus homes. Despite that the surrounding houses were still under construction, the ‘water feature’ already looked completely forgotten, and an inquiry revealed that “no more development is planned” for the park, which doesn’t even have benches or foliage. The images are a testament to the countless, half-baked development projects that make ‘the burbs’ a uniquely obscene collage of dystopic materialism.
The Storage Room