Untitled Document
L4 installed
L4 detail
Untitled Document
Civil War Battle Fields
Wall Sconces
The West Collected
Exquisite Corpse Variations
The Burning Bush
Untitled Document

Ouroboros - 2007 - 2010 - inkjet prints - Variable sizes 30"x40" to 60" x 80"

The isolated figures in these images derive their poses from pornographic images where actors perform acts of theatrical masturbation, from photographs of the lynched and executed, and from images of celebrities, the rich, and the powerful. Generated from 3D modeling software and embedded into photography through contact printing to daguerreotypes, the works are presented as 30” x 40”, 40” x 60” and 60” x 80” prints.

Deriving its name from the mythological snake that eats is own tail, the photographs in Ouroboros (whether they are of celebrities, lynchings, or pornography) are of the pornographic moment. They are of acts and people that are representations first and only real in any sense of the word second. The images attempt to encompass the moment when the real is made into a representation, when the flesh becomes a photograph.

In pornography, the actors are really having sex and they are simultaneously simulating the act of having sex. It is a cinematic moment that enters into a cycle where the simulation of physical pleasure creates a representation that induces physical pleasure, which is then bound to the simulation. Lynchings were (and are) photographed. Often the images were turned into postcards and proudly sold to those who attended the event. The body of the lynched transformed into the spectacle of the photograph. Celebrities are simultaneously themselves and a media construct for the viewer. They become a public amalgamation of all the characters we have witnessed through photographs and when they are revealed as contradictory to their licensed and corporate image we are disturbed by the messiness of their human lives. We are confronted with our own fictions as we try to empathize with the subject.

Ouroboros, by eliminating any connection to the real but remaining photographs of sex, death, and consumption, seeks to engage the viewer in an act of mediation and explore the intersecting lines between preservation and loss, communication, and simulation inherent in the photographic image.