Specular Diffusions began with two sheets of silver-mirrored paper hung opposite one another in the studio. The sheets were then photographed, respectively, at each hour for 24 hours. The photograph captured the surrounding environment as reflected in the sheet, reduced to fragments of light and color due to the malleability of the material. These images were then printed onto a new mirrored sheet, similar to the original material, but slightly different: The substrate is double-sided mirrored film, whose reflectivity and transparency vary depending upon the intensity and direction of light (the original is opaque and one-sided). In the lightest areas of the photograph the image is transparent, allowing the materiality of the film to show through. The image printed upon the mirrored film is then mounted to glass: the substrate mirror is flat and smooth, thus becoming more mirror-like than the originating subject.

With each operation the work simultaneously moves away from and loops back to its originating materiality. Additionally, the layering of the mirror-image onto the mirrored surface contains a dual temporality and place: that of the time and space where the work was created, and of the continuous present time and current place.

What I aim to encourage with such repetition is a questioning of perception and attention. Through repetition, the objective becomes mutable and the minor becomes profound.

Like Beckett’s strategies of permutation, by reiterating the particular and repeating the same vocabulary (or image) over and over, the subject is both reduced and expanded. With each revisitation one begins to read oneself, and to read one’s previous readings; at once being broken down and built anew. When I say read, I mean see.