Throughout history, artists have strived to record their own perception of the world with as great a precision as they could achieve. The invention of photography in the mid-nineteenth century began to free them from the pursuit of perceptually perfect realism. By the twentieth century, artists had begun to explore the cognitive processes of vision, and were making work related to how they understood images rather than simply how they saw them. This was the great flowering of potential for painting and sculpture: they are unmoored from the rules of the physical world (painting especially), and so can express any vision the artist has.
Photography is traditionally seen as being anchored in the real world, to the point that it can be difficult for viewers to accept that a photographic image does not inherently contain some sort of truth. Digital imaging and ease of access to editing software is beginning to shift those assumptions, but the desire to believe in the truth of the photograph remains strong (this is why doctored pictures go viral as evidence of our amazing world). But the potential of photography is far greater. My goal is to challenge the imposed limits of photography and digital imaging, and what they can express. More specifically, I am deconstructing the processes in order to understand them on their native terms: photography in chemistry and light, and digital imaging in mathematics and logic.
It is important to mention that most of the images on this site are of real, physical objects. For many of these objects, the color itself is an important part of the work. There are real limitations to duplicating color on the internet, and so the images on this site are simply meant to give the viewer an impression of the work, not to replace the experience of actually seeing them.