EXPIRATION OF THE EXTRAORDINARY
Even before I delved into the world of Einstein, I had already started experimenting with multiple exposures instinctively wanting to deconstruct the images I created by colliding the conscious and subconscious mind, unknowingly stripping away points of reference; seeing each seemingly separate moment frozen in my camera as an intersection of time and space, past and future, birth and death - the irrevocable instant where all universal constructs simultaneously converged.
Einstein’s Theory of Relativity postulated that all motion is relative and time and space no longer uniform and absolute. I was introduced to the ideas of time dilation, curved spacetime, relativity of simultaneity and length contraction, all of which influenced my work further. I realized that I was no longer interested in trying to "capture” a particular image; I wanted to capture the viewer inside the world I was constructing.
I started to bend uniform reality with the tools of color, form and context so that the viewer’s perception of time and space would start to dilate as he got emotionally closer to each image and the absence of accepted points of reference would jar loose the viewer's subconscious boiling down his experience of "seeing art" into an intensely personal and volatile relationship that would evolve beyond the gallery walls.
It’s like experiencing love and heartbreak over and over again until we realize they one, and the end gives birth to the beginning and time ceases to exist; a universe arises where God and Man eternally trade roles and when we gaze into the future we gaze into our eternal soul.
Einstein’s Theory of Relativity postulated that all motion is relative and time and space no longer uniform and absolute. I was introduced to the ideas of time dilation, curved spacetime, relativity of simultaneity and length contraction, all of which influenced my work further. I realized that I was no longer interested in trying to "capture” a particular image; I wanted to capture the viewer inside the world I was constructing.
I started to bend uniform reality with the tools of color, form and context so that the viewer’s perception of time and space would start to dilate as he got emotionally closer to each image and the absence of accepted points of reference would jar loose the viewer's subconscious boiling down his experience of "seeing art" into an intensely personal and volatile relationship that would evolve beyond the gallery walls.
It’s like experiencing love and heartbreak over and over again until we realize they one, and the end gives birth to the beginning and time ceases to exist; a universe arises where God and Man eternally trade roles and when we gaze into the future we gaze into our eternal soul.
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