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, A Snapshot Revisited continuously thinks about the condition of image-based realities. In this investigation I worked with numerous photographic processes to emphasize the influence each has on our impression and interpretation of an image. I am interested in how the unique aesthetics of photographic processes affect our understanding of history. But also subverting photographic value systems was critical. What happens when a banal smartphone snapshot becomes an antique tintype? Repetition is exploited to imbue value and sentiment into an otherwise ordinary image. Photographic narrative can and is easily disrupted with minimal effort, such as the removal of a title or a rudimentary composite. Polaroids, that which institutions used when concerned with documenting evidence, turn this investigation inwards into my own practice of looking and making. 

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 type of photographs obsessively document the private lives of family, recreation amongst friends, and every moment deemed valuable by its onlooker. 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 photographs have on our interpretation of personal history.