The contemporary state of photography has bestowed upon me a newfangled blend of both cynicism and inquisitiveness. This token of photography’s evolution has coerced me to question every photograph that I see.
My understanding of photography started as a mirror of reality. Clicks and flashes of a machine provided a vicarious experience of my own past. However, with the rise of digital editing softwares and manipulation techniques I no longer see photographs as mirror of reality.
It is this convoluted state of photography that has fueled and propelled my senior art project. My response to the current state of photography has evolved from scratches on a gelatin print to a three dimensional façade of a house, coalition of fifty photographs to form one image and a portrait that dwells in both two dimensional and three dimensional world. In my pieces I have tried pushing the already fading elements and borders of photography to three dimensional form, layers and moving images. The pieces can be viewed as an extent of the present state of photography where anything passes as a photograph as long as the image quality is lifelike.