Landshift, 2012
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Landshift conceptually destabilizes set notions of landscape to allow us to re-approach place. Multiple aerial viewpoints compressed into a single plane use the visual language of digital processes mixed with analog processes—black and white silver gelatin photography and silkscreen printing—to create a hybrid, hallucinogenic system of mapping outer coordinates. The analog processes that are the basis of the work allude to the history of photographic mapping, including the 19th century photographic survey of the United States and early exploration photography. The different layers of technology embedded in the piece track sensibilities and assumptions from the 19th century through to the virtual contemporary sensibilities where the local collapses into the global, and the physicality of ‘somewhere’ collapses into the virtual space of ‘nowhere.’

The video is comprised of scanned silver gelatin negatives that are digitally collaged.

 

SHARON HARPER