Learning a diversity of perspectives requires us to sometimes get off the 'hamster wheel' and see in different ways. Although this can be a tough exercise, it's an approach that runs through the entirety of these two volumes. At first glance they may appear at odds with each other, as unrelated bodies, but if you look closely, you'll notice they are both built using the same visual 'genetics' (however imperfect they may be). Distilled from a library of over 350,000 different media scripts, images and performances collected over many decades, the works carry a spirit of observation into the different ways that we create image and appeal. The first Volume of work plays with 12 different degrees of meaning and the tendencies for us to 'will' reactions, categories and behaviours into them.
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The second, mirrored chapter of work connects to the first using the inner workings of image and its hidden mechanics. Disassembling the ink cavities of printers, colour displays as well as the endless correspondences used to build them (including castings, surveys and visual strategies) the image is transformed into a type of 'photo painting' to reveal the hidden codes and patterns that shape it. In connecting the two volumes, what emerges is a model of seeing that focuses on both the processes we use to distort impressions, as well as the impressions themselves. As a whole, these mirrored volumes resemble the two different sides of the same coin, where only one side is visible at a time (similar to a theory called complementarity). However we choose to engage these different faces and processes, their image-making tools have quickly become ubiquitous parts of our recorded lives. In a time that increasingly covets instant feedback, this approach finds lyrical new ways to slow our perceptions and connect to the many influences shaping our account of them.
— Michael Graf
At its heart is an exercise that asks us not just to look, but to see beyond the obvious and everyday, connecting our familiar nuggets to unfamiliar rhymes.