I record suspended moments of migratory human activity within historical architectural places and spaces, such as plazas, train stations, courtyards, churches and museums. The use of multiple digital images to create one panoramic photograph captures the movement of individuals within a space during a sequence of time.
Architectural spaces are of primary interest because of the history held by these particular locations. They are silent witnesses to changes in philosophy, faith, politics,
culture, fashion and power. For centuries, people have moved through these spaces, and future generations will continue to pass through them as well. The architecture is
permanent, and the pilgrimages to these places continuous, yet every individual’s time within the space is brief. I have also made a pilgrimage to each place, and as such, images
usually will include a hint of my feet. I am a grounded witness to the passing of these individuals through the space during a particular point in time; this time being a finite moment within the larger historical context of the architecture’s existence. By nature of the time-lapse photographic process, figures will sometimes appear semi-transparent over top of the crisp and permanent architecture.
The panoramic photographs are created utilizing a photomontage digital technique. At each location, I slowly pan in a 180 degree rotation, recording up to fifty consecutive images with a digital camera. Drawing from this pool of images, I select anywhere from eighteen to fifty photographs to be digitally stitched together using Adobe Photoshop software; thereby creating one panorama.
My approach to creating one image from many, allows the viewer to see multiple perspectives at the same time. Areas, that otherwise would be beyond the viewer’s periphery, become visible. The multiple shots or views are taken from the exact same location. While the views and places exist, an individual could never see the site exactly as it appears in the completed montaged photograph. In reality, the human eye is incapable of viewing these various perspectives simultaneously as one image. The seamless stitching leads the viewer to perceive the image to be true, while distortions
and the juxtaposition of improbable angles provide evidence that what the viewer sees may not be possible in the real world.