Lost in Transmission (2023) has successfully manipulated a winter landscape into a field which is psychologically charged and espousing a perception of friction. It has been fractured through repetition- its orientation flipped and through chromatic aberration. You simply cannot view this image passively and must become active to understand and explore the work.
The symmetry is apparent when looking at the work as from the centre it is mirrored and slices the composition into four different sections. Through the mirroring- it appears that the path goes endlessly with the trees guiding the path ahead. However, as the work has four centres it is quite disorienting and dissolves itself into an abstract composition.
Within the patterns of the imagery; it introduces an occasional chromatic distortion- with which the colours red and cyan highlight the elements in the work. They thus bleed into what would be considered a greyscale image interrupting the quietness and perhaps giving an atmosphere that this memory has been corrupted, glitched or lost.
A Thousand Hands (2024) makes the trees look as though they have been stretched. The image is composed within a vertical alignment which has the tree branches moving around and becoming hands, gestures and looking as though they are moving. The borders are negative exposures framing the composition and are extensions of the main mirrored image allowing the viewer to explore peacefully the image.
As with the previous work, it is entirely symmetrical yet the negative framing allows for a break in this. It looks as though the trees and their branches are pressing against the edge of the central composition as though they are being compressed. The trees continually multiply and create new branches from themselves- the repetitiveness accumulates the more you approach the image. The branches go up and down at the same time moving our eyes back and forth through the work.
Furthermore, the contrast in the work is successfully executed as the pale sky against the dark branches then suddenly shifting within the edges to the opposite. Both are incredibly abstracted yet the shift to opposites are sudden and brutal containing the trees within this region.
Negative Trance (2024) departs directly away from nature and inverts it entirely. From looking at the image- one will not instantaneously see trees or branches at all. Rather it appears suddenly as an abstract composition becoming skeletal and spectral and has entirely removed itself from being natural.
The mirrored photograph has been reconstructed into this symmetry that confronts the viewer and the scene is not anchored by anything as the trees seem to float and not appear attached to anything. The trees have been turned into a system that connects with itself- as though its electric. Thus it is perhaps a nervous system within an x-ray.
The movements of these branches and trees look as though they are moving and shifting- as though they were a part of a human body. Due to this structure- our eyes will be looking for something that locks the structure into place but as it is free-flowing and organic-looking we are instead drawn back to where we started or continue endlessly moving around the image.
Overall, within these three works showcased- they sustain the same concept that they all fracture our perception and warp it to make it appear as though the images are constantly moving and shifting. The contrast between the light, dark and the negatives are all competing against each other for dominance over the compositions.