NEGATIVE OBJECTS
Negative Objects emerged from a refusal to let photographs merely stand in for the physical works they depict. I’ve always been aware of the gap between the object and its image, but instead of trying to bridge it, I chose to widen it. The images I create no longer aim to represent the object faithfully; they dislocate it. Through a process as simple as inverting colour—mimicking the look of black-and-white film negatives—I subtract key aspects of the original work, especially colour, to signal a deliberate transformation.
These images do not function as documentation. They resist that role. Instead, they become works in themselves as distortions and afterimages. They displace the object, preventing the viewer from tracing their way back to its physical presence. The photographs, then, are not translations but mutations. They carry the memory of the object, yet no longer describe it. And while anyone could invert an image, they cannot replicate the act of seeing I impose through the lens: the frame, the crop, the focus, the omission. In this act of refusal, I found a way back to photography—not to document, but to interfere. To let the image misbehave. To make absence speak more loudly than presence.
Negative Objects emerged from a refusal to let photographs merely stand in for the physical works they depict. I’ve always been aware of the gap between the object and its image, but instead of trying to bridge it, I chose to widen it. The images I create no longer aim to represent the object faithfully; they dislocate it. Through a process as simple as inverting colour—mimicking the look of black-and-white film negatives—I subtract key aspects of the original work, especially colour, to signal a deliberate transformation.
These images do not function as documentation. They resist that role. Instead, they become works in themselves as distortions and afterimages. They displace the object, preventing the viewer from tracing their way back to its physical presence. The photographs, then, are not translations but mutations. They carry the memory of the object, yet no longer describe it. And while anyone could invert an image, they cannot replicate the act of seeing I impose through the lens: the frame, the crop, the focus, the omission. In this act of refusal, I found a way back to photography—not to document, but to interfere. To let the image misbehave. To make absence speak more loudly than presence.
volcano
wednesday as yesterday
blue one
interim
red
core ode
precursor
wednesday as yesterday
blue one
interim
red
core ode
precursor
13112023
04122023
22012024
10032024
20052024
19112024
06052025
04122023
22012024
10032024
20052024
19112024
06052025