Corporate Time/Doomsday Time Installation at the RAG Collection

Statement:

These prints represent photography at its most basic: the bleaching power of the sun at work on paper. Each is coated in a plant puree: spinach, spirulina, pomegranate, prickly pear, nasturtium, turmeric… Some materials are grown from seedlings, some foraged, some found at the grocery store. Each coated piece of paper is sandwiched with a transparency-printed image and left in the sun for hours, days, or weeks. The sun slowly fades any exposed surface.

The anthotype (flower print) is both impossible to standardize for commercial distribution and unfixable—each of these prints will eventually fade. The exposure times range from hours to months. In the scope of the history of photography, this awkward and impractical process figures as little more than a footnote, with a metaphorical pat on the head (endearing, though unlikely to mature!).

My current obsession focuses on a clock, mostly stuck at 10:10 - as in all watch/clock advertisement. This form of the hands allows the brand name to be framed, with the optimism of a subtle smile form (affectionately known as "Happy Time”). I love the tropes of the photographic medium, the ways our vision is quietly mediated. My quest to push against default printing processes figures into the same conversation, for me, as that of this insidious clock time. The occasional Doomsday Clock image joins the mix, stuck ominously at 100 seconds to midnight.