The work orchestrates a slippage between the real and the fake, between a familiar scene and a re-reading as still-life. Deprived of self-consciousness, they are void, uninhabited positions, providing a space to pause, like their protagonists, in mock-reflection. In this indeterminate state, meaning is lost and once re-established can never regain its definitive nature.
The image is first cut from the visible. Movement is held up, suspended, inverted, arrested.Cutting is more essential than presence, both by framing and by the controlled purge of the visible.
Skirting affectionately a line of waiting issues concerned with the role of photography in the provision and disreputation of visible proof, what remains is a more specific question about the cutting edge of the frame. What sets out to be probing the less controversial but finer detail of the circumstance when an image was constructed, becomes a tug of war between the formal and the narrative, the classical versus the romantic, between particulate matter and the wavefunction of the poetic imagination.
Dont collapse. Do collapse.