Next to the glass façade of my studio, I hung two 70x100cm sheets of silver foil paper on opposite walls; one on the left wall and one on the right. The left wall angled toward the street outside and the right to the interior of the studio. Over a 24-hour period, at one-hour intervals, I photographed each sheet.
The light and activity within and outside of the studio changed over time; its mutating qualities were captured and reflected by the sheets, and a moment of such qualities was recorded by the camera at each hour. The pliable, rippled quality of the sheets diffused and abstracted the reflection to its primary visual properties of light and color.
The creation of this series arose from an interest in the unique materiality of mirrors and reflections. Specifically, the interest laid in the unique ‘active agency’ that such materials posses, as well as the significance that mirrors have had across cultures and history.
A mirror is a material that “sees”, for itself and for you, extending and supplementing one’s vision in ways that range from the literal and physical (a rear-view mirror, a surveillance mirror, a Claude Glass) to the intellectual, emotional, metaphorical (the idea of “holding a mirror” to oneself or someone or something–e.g. society as a whole– utilizing the mirror as a tool of metaphorical reflection and introspection; “mirroring” behaviors as a psychological concept), and the spiritual and metaphysical (ancient Aztecs belief in mirrors–in this case polished obsidian–as portals to the spiritual realm, or alternate worlds which one could see but not interact with). It is the first material which allowed beings to see themselves outside of themselves.
I am also interested in the convergence of multiple operations of image-processing, image-making and recording; the way in which such steps layer and loop back upon themselves in the process of creation and production, and how this kind of multiplying, I believe, can be seen as a metaphor for the relationships between time, memory, perception and development.
What begins as two pliable mirrored sheets reflecting a rippled image of its surroundings, is then photographed; the photograph is then processed and printed onto mirror film (whose quality of reflectivity and transparency varies depending upon the intensity and direction of light); and then this mirror-image-on-mirror-film is mounted to glass. Through this process of layering, the recorded image/reflection of the environment and time of its making is transfused with the present time and environment in which the work is viewed. The work becomes a clock and a record, of the hours and place of its making and the continuous time that passes before: an impression of its creation and reflection of its environment.