I have edited these photographs in such a way to create relationships between the singular images. The visual language I interpret daily informs me of particular issues: The humanized desert landscape that surrounds me, gender constructs that infiltrate my existence through economic commodities, and societal iconography, both borrowed and created, worshipped and purchased. It all finally calls back to the photographic medium itself, for the most urgent issue is at last, a desperate, burning desire to deeply understand photography. Hollis Frampton (or as Bill Jenkins lovingly refers to him, Uncle Hollis) articulates in his essay Incisions in History/ Segments of Eternity:

“We do not define our art, but rather it some how defines us, as hexagonal labyrinths of wax both circumscribe and detail the honeybee”

Thus, this sequence of photographs conveys the visual language of photography, explaining my ideas without words, which are at last gratuitous.


The images are arranged to mirror the installation from the Strange Acquaintance exhibition in 2014, as seen here.
Photo by Clarita Lulic.