This body of work was inspired by photographers Jacob Gils and Pep Ventosa, who deconstruct and reassemble objects they have photographed using specific capture techniques, editing and printing unique to each artist.
Similarly, my Roundabout series rejects the singular photographic viewpoint in favor of a continuous, circular accumulation of perspectives. Each image is constructed by orbiting a fixed subject (360˚ when possible but never less than 180˚), collapsing multiple vantage points into a single, unstable whole.
The work disrupts linear perspective and spatial coherence, compressing time into simultaneity and assembling form through discontinuity. What appears unified is structurally fractured; what appears descriptive is contingent.
Rather than documenting place, Roundabouts examines how perception constructs it. There is no fixed viewpoint, only a circulation of seeing in which recognition is deferred and meaning remains unresolved. Perhaps most satisfyingly, the results are images not only unique, but seeing all angles, sides and possibilities of anything these days is politically and culturally an improvement.
I've tried to put my own spin on this technique with my choice of subject matter, the radius I walk around, the amount of shots per final image and the post production methods I use. They are printed on Hahnemuhle Museum Etching textured watercolor paper. This series has completely changed my relationship to photography and how I see the world around me. All were taken in the Los Angeles area.
