Visual information dominates our understanding of reality, and as an artist, I strive to add another dimension to seemingly mundane, yet highly revealing studies of human interaction. Everyone is born with an innate curiosity that allows one to experience ordinary moments as extraordinary, but for me, this sense of curiosity was heightened when I immigrated to the United States as a teenager. Without being able to understand or speak the language, I had to rely primarily on visual information. The experience of being a total stranger, unable to speak English, put me in the position of a mostly silent observer.
My heightened awareness of visual imagery drove me to study film. With film, the audience is imprisoned by the intention of the director for a specified period of time, and this resonated with me as I developed my own artistic practice. When language ceases to translate, visual information dominates. After finishing completing my B.A. in Visual Art Film at the University of California, San Diego, I refined my visual documentary skills by studying photography at Glendale Community College. Eventually, I become a lab assistant to further build my knowledge and skills.
Unlike film, my photographic work is pushes the common experience of looking beyond spoken language, so that the viewer is becomes the silent observer of particular moments. Creating my work requires extended periods of observation and careful timing. The images capture specific times and spaces, allowing the viewer to intently analyze every detail. In Bulletin Boards, the boards become the location of organic community interactions within a specific, confined space. The images give a glimpse into the chaotic and always transitional local social ecosystems. In another series, Matchbox Life utilizes the physical forms of high-rise buildings to create a structural understanding of the coexistence of strangers within close proximity. While operating independently in their personal spaces, the inhabitants are unaware they are being observed in a series of simultaneous actions. The images are composed of a single side of a building where the windows serve as a framework within urban and social structures.
" In one of my latest projects, Matchbox Life, I utilize the physical forms of high-rise buildings to create a structural understanding of the coexistence of strangers within close proximity. Without being aware of their simultaneous interactions, the inhabitants are involved in a curious occurrence of proximal time. The images are composed of a single side of a building where the windows serve as a catalyst to the understanding of the confines within urban structures and social structures. These images capture personal idiosyncrasies, and the unknown relationship between the dwellers of the building. The ability to capture and fix time enables photography to record a physical record of the structure and the contained interactions."
THE CARLOS REID GALLERY
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