The works in this new series develop themes explored a previous the series. ‘The Tainted Sublime’ (2016-19) was a survey of landscapes emblematic of the anthropocene era.
‘Liminalia’ constitutes a continuing and expanded attempt to apprehend the contemporary sublime.
The works in this series however exist only, as it were, on the page; they are depictions neither of a specific spatial nor temporal locus. Rather, they explore the tension between Nature and Culture in a non-space.
Nor are they depictions of a scenario into which we, the viewer, can project ourselves into as a protagonist whether Utopian or Distopian.
Nevertheless, several prefixes are suggested by the imagery: Pre, Post, Non, Anti, Ex etc. While these descriptive qualifications are pertinent they are rendered null by being divested of a context against which they could be compared; pre-what, ex-where?.
However there is a ‘presence’ at play yet it is not an embodied presence. It is rather the presence engendered by the semi-autonomous nature of the images themselves: they feel familiar, true: Uncanny.
In the process of creating the images I felt to an extent absent - the images seemed to spring fully formed into being and I merely the conduit for them to be realised.
It would be disingenuous to say that I had no agency or that the images were not initiated and executed by me yet I have the very real sense that they arrived from, as the title refers, some liminal space.
Barium print
Hannemuhl acid free rag paper.
Edition of 24
Available
The works in this new series develop themes explored a previous the series. ‘The Tainted Sublime’ (2016-19) was a survey of landscapes emblematic of the anthropocene era.
‘Liminalia’ constitutes a continuing and expanded attempt to apprehend the contemporary sublime.
The works in this series however exist only, as it were, on the page; they are depictions neither of a specific spatial nor temporal locus. Rather, they explore the tension between Nature and Culture in a non-space.
Nor are they depictions of a scenario into which we, the viewer, can project ourselves into as a protagonist whether Utopian or Distopian.
Nevertheless, several prefixes are suggested by the imagery: Pre, Post, Non, Anti, Ex etc. While these descriptive qualifications are pertinent they are rendered null by being divested of a context against which they could be compared; pre-what, ex-where?.
However there is a ‘presence’ at play yet it is not an embodied presence. It is rather the presence engendered by the semi-autonomous nature of the images themselves: they feel familiar, true: Uncanny.
In the process of creating the images I felt to an extent absent - the images seemed to spring fully formed into being and I merely the conduit for them to be realised.
It would be disingenuous to say that I had no agency or that the images were not initiated and executed by me yet I have the very real sense that they arrived from, as the title refers, some liminal space.
Barium print
Hannemuhle acid free rag paper.
Edition of 24
Available
The works in this new series develop themes explored a previous the series. ‘The Tainted Sublime’ (2016-19) was a survey of landscapes emblematic of the anthropocene era.
‘Liminalia’ constitutes a continuing and expanded attempt to apprehend the contemporary sublime.
The works in this series however exist only, as it were, on the page; they are depictions neither of a specific spatial nor temporal locus. Rather, they explore the tension between Nature and Culture in a non-space.
Nor are they depictions of a scenario into which we, the viewer, can project ourselves into as a protagonist whether Utopian or Distopian.
Nevertheless, several prefixes are suggested by the imagery: Pre, Post, Non, Anti, Ex etc. While these descriptive qualifications are pertinent they are rendered null by being divested of a context against which they could be compared; pre-what, ex-where?.
However there is a ‘presence’ at play yet it is not an embodied presence. It is rather the presence engendered by the semi-autonomous nature of the images themselves: they feel familiar, true: Uncanny.
In the process of creating the images I felt to an extent absent - the images seemed to spring fully formed into being and I merely the conduit for them to be realised.
It would be disingenuous to say that I had no agency or that the images were not initiated and executed by me yet I have the very real sense that they arrived from, as the title refers, some liminal space.
Barium print
Edition of 24
Hannemuhle acid free rag paper
Available
The works in this new series develop themes explored a previous the series. ‘The Tainted Sublime’ (2016-19) was a survey of landscapes emblematic of the anthropocene era.
‘Liminalia’ constitutes a continuing and expanded attempt to apprehend the contemporary sublime.
The works in this series however exist only, as it were, on the page; they are depictions neither of a specific spatial nor temporal locus. Rather, they explore the tension between Nature and Culture in a non-space.
Nor are they depictions of a scenario into which we, the viewer, can project ourselves into as a protagonist whether Utopian or Distopian.
Nevertheless, several prefixes are suggested by the imagery: Pre, Post, Non, Anti, Ex etc. While these descriptive qualifications are pertinent they are rendered null by being divested of a context against which they could be compared; pre-what, ex-where?.
However there is a ‘presence’ at play yet it is not an embodied presence. It is rather the presence engendered by the semi-autonomous nature of the images themselves: they feel familiar, true: Uncanny.
In the process of creating the images I felt to an extent absent - the images seemed to spring fully formed into being and I merely the conduit for them to be realised.
It would be disingenuous to say that I had no agency or that the images were not initiated and executed by me yet I have the very real sense that they arrived from, as the title refers, some liminal space.
Barium print
Hannemuhle acid free rag paper
Edition of 24
Available
The works in this new series develop themes explored a previous the series. ‘The Tainted Sublime’ (2016-19) was a survey of landscapes emblematic of the anthropocene era.
‘Liminalia’ constitutes a continuing and expanded attempt to apprehend the contemporary sublime.
The works in this series however exist only, as it were, on the page; they are depictions neither of a specific spatial nor temporal locus. Rather, they explore the tension between Nature and Culture in a non-space.
Nor are they depictions of a scenario into which we, the viewer, can project ourselves into as a protagonist whether Utopian or Distopian.
Nevertheless, several prefixes are suggested by the imagery: Pre, Post, Non, Anti, Ex etc. While these descriptive qualifications are pertinent they are rendered null by being divested of a context against which they could be compared; pre-what, ex-where?.
However there is a ‘presence’ at play yet it is not an embodied presence. It is rather the presence engendered by the semi-autonomous nature of the images themselves: they feel familiar, true: Uncanny.
In the process of creating the images I felt to an extent absent - the images seemed to spring fully formed into being and I merely the conduit for them to be realised.
It would be disingenuous to say that I had no agency or that the images were not initiated and executed by me yet I have the very real sense that they arrived from, as the title refers, some liminal space.
Barium print
Hannemuhle acid free rag paper
Edition of 24
Available
The works in this new series develop themes explored a previous the series. ‘The Tainted Sublime’ (2016-19) was a survey of landscapes emblematic of the anthropocene era.
‘Liminalia’ constitutes a continuing and expanded attempt to apprehend the contemporary sublime.
The works in this series however exist only, as it were, on the page; they are depictions neither of a specific spatial nor temporal locus. Rather, they explore the tension between Nature and Culture in a non-space.
Nor are they depictions of a scenario into which we, the viewer, can project ourselves into as a protagonist whether Utopian or Distopian.
Nevertheless, several prefixes are suggested by the imagery: Pre, Post, Non, Anti, Ex etc. While these descriptive qualifications are pertinent they are rendered null by being divested of a context against which they could be compared; pre-what, ex-where?.
However there is a ‘presence’ at play yet it is not an embodied presence. It is rather the presence engendered by the semi-autonomous nature of the images themselves: they feel familiar, true: Uncanny.
In the process of creating the images I felt to an extent absent - the images seemed to spring fully formed into being and I merely the conduit for them to be realised.
It would be disingenuous to say that I had no agency or that the images were not initiated and executed by me yet I have the very real sense that they arrived from, as the title refers, some liminal space.
Barium print
Hannemuhle acid free rag paper
Edition of 24
Available
The works in this new series develop themes explored a previous the series. ‘The Tainted Sublime’ (2016-19) was a survey of landscapes emblematic of the anthropocene era.
‘Liminalia’ constitutes a continuing and expanded attempt to apprehend the contemporary sublime.
The works in this series however exist only, as it were, on the page; they are depictions neither of a specific spatial nor temporal locus. Rather, they explore the tension between Nature and Culture in a non-space.
Nor are they depictions of a scenario into which we, the viewer, can project ourselves into as a protagonist whether Utopian or Distopian.
Nevertheless, several prefixes are suggested by the imagery: Pre, Post, Non, Anti, Ex etc. While these descriptive qualifications are pertinent they are rendered null by being divested of a context against which they could be compared; pre-what, ex-where?.
However there is a ‘presence’ at play yet it is not an embodied presence. It is rather the presence engendered by the semi-autonomous nature of the images themselves: they feel familiar, true: Uncanny.
In the process of creating the images I felt to an extent absent - the images seemed to spring fully formed into being and I merely the conduit for them to be realised.
It would be disingenuous to say that I had no agency or that the images were not initiated and executed by me yet I have the very real sense that they arrived from, as the title refers, some liminal space.
Barium print
Hannemuhle acid free rag paper
Edition of 24
Available
The works in this new series develop themes explored a previous the series. ‘The Tainted Sublime’ (2016-19) was a survey of landscapes emblematic of the anthropocene era.
‘Liminalia’ constitutes a continuing and expanded attempt to apprehend the contemporary sublime.
The works in this series however exist only, as it were, on the page; they are depictions neither of a specific spatial nor temporal locus. Rather, they explore the tension between Nature and Culture in a non-space.
Nor are they depictions of a scenario into which we, the viewer, can project ourselves into as a protagonist whether Utopian or Distopian.
Nevertheless, several prefixes are suggested by the imagery: Pre, Post, Non, Anti, Ex etc. While these descriptive qualifications are pertinent they are rendered null by being divested of a context against which they could be compared; pre-what, ex-where?.
However there is a ‘presence’ at play yet it is not an embodied presence. It is rather the presence engendered by the semi-autonomous nature of the images themselves: they feel familiar, true: Uncanny.
In the process of creating the images I felt to an extent absent - the images seemed to spring fully formed into being and I merely the conduit for them to be realised.
It would be disingenuous to say that I had no agency or that the images were not initiated and executed by me yet I have the very real sense that they arrived from, as the title refers, some liminal space.
Barium print
Hannemuhle acid free rag paper
Edition of 24
Available
The works in this new series develop themes explored a previous the series. ‘The Tainted Sublime’ (2016-19) was a survey of landscapes emblematic of the anthropocene era.
‘Liminalia’ constitutes a continuing and expanded attempt to apprehend the contemporary sublime.
The works in this series however exist only, as it were, on the page; they are depictions neither of a specific spatial nor temporal locus. Rather, they explore the tension between Nature and Culture in a non-space.
Nor are they depictions of a scenario into which we, the viewer, can project ourselves into as a protagonist whether Utopian or Distopian.
Nevertheless, several prefixes are suggested by the imagery: Pre, Post, Non, Anti, Ex etc. While these descriptive qualifications are pertinent they are rendered null by being divested of a context against which they could be compared; pre-what, ex-where?.
However there is a ‘presence’ at play yet it is not an embodied presence. It is rather the presence engendered by the semi-autonomous nature of the images themselves: they feel familiar, true: Uncanny.
In the process of creating the images I felt to an extent absent - the images seemed to spring fully formed into being and I merely the conduit for them to be realised.
It would be disingenuous to say that I had no agency or that the images were not initiated and executed by me yet I have the very real sense that they arrived from, as the title refers, some liminal space.
Barium print
Hannemuhle acid free rag paper
Edition of 24
Available
The works in this new series develop themes explored a previous the series. ‘The Tainted Sublime’ (2016-19) was a survey of landscapes emblematic of the anthropocene era.
‘Liminalia’ constitutes a continuing and expanded attempt to apprehend the contemporary sublime.
The works in this series however exist only, as it were, on the page; they are depictions neither of a specific spatial nor temporal locus. Rather, they explore the tension between Nature and Culture in a non-space.
Nor are they depictions of a scenario into which we, the viewer, can project ourselves into as a protagonist whether Utopian or Distopian.
Nevertheless, several prefixes are suggested by the imagery: Pre, Post, Non, Anti, Ex etc. While these descriptive qualifications are pertinent they are rendered null by being divested of a context against which they could be compared; pre-what, ex-where?.
However there is a ‘presence’ at play yet it is not an embodied presence. It is rather the presence engendered by the semi-autonomous nature of the images themselves: they feel familiar, true: Uncanny.
In the process of creating the images I felt to an extent absent - the images seemed to spring fully formed into being and I merely the conduit for them to be realised.
It would be disingenuous to say that I had no agency or that the images were not initiated and executed by me yet I have the very real sense that they arrived from, as the title refers, some liminal space.
Barium print
Hannemuhle acid free rag paper
Edition of 24
Available