The prints of the miniature houses are photograms, placed on unexposed color photo paper and captured without the use of a camera or lens.
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Each image is unique: the structure of the house is the same, but the gradations of color and shadows are different. They are not only done with RA-4 color chemistry, but they utilize a reversal process, so that the resulting images are positive. They may appear to be flat, or have empty interiors, yet the light shines through with degrees of both menace and revelation.
The prints that do not have houses are enlargements of chemigrams.
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By spraying, then gliding traditional darkroom chemicals onto the surface of photographic film, the liquids crystallize, blacken, and warp: all reacting with the photo emulsion. The films are presented as strips or in sections. It is a perverse treatment of the material since there is no lens or camera involved. It is not a reproduction, but enlightening what is latent; written with accidents.
The houses and landscapes in these images are rarely close to the viewer. We anticipate the idealism of these locations. We are being pulled away from them. We are still dreaming toward them. They demonstrate the impossibility of perfection. Or the possibility of perfect homelessness.
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