A Snapshot Revisited is an ongoing investigation into the act of looking at photographs. Looking is colored by idiosyncrasy. Part theoretical reaction, part playful gesture, this work continuously thinks about the conditions and implications of the photographic document. This singular image of two figures became a springboard for multiple threads of investigation.
In an ontological survey of sorts, I juxtapose various photographic processes from the span of photographic history. I am interested in how the unique aesthetics of photographic processes affect our value systems, our perception of history, our sense of familiarity. Subverting photographic value systems was important. As was a tension between deskilled photography and skilled photography. What happens when a banal smartphone snapshot becomes an antique tintype? I consider repetition as a strategy to imbue value and sentiment into an otherwise ordinary and ambiguous image. As well as, to reference the ubiquitous relationship we have with the image world. Polaroids or “instant film”—that which institutions used when concerned with documenting evidence, turn this investigation inwards into my own practice of looking and making. How much can be learned from a personal photograph?
This photograph of two figures represents my interest in the playful and very personal snapshots of my inner circle. Vernacular images are at the heart of photographic language, however banal and incidental they may be. These types of deskilled photographs obsessively document the lives of family, recreation amongst friends, and every moment deemed valuable by its spectator. I am not entirely sure why I chose to document this exact moment. Humor, endearment, preservation, collection, extortion? Memory can be creative at retelling past narratives. Relying on memory I made a painting that aims to portray my own ever-evolving memory of this recorded experience. Does the more we see an image make its frozen moment more or less real I wonder. Today photographs are made in a fraction of a second. My work slows down this process, this act of looking—both provoking and reflexively studying our relationship with the image, and considers the impact photographic documents have on the production of knowledge, our understanding of history, and the construction of culture.