Upside Out

In early 2017 I began using a portrait lens to shoot architecture.

It let me reach from the street to the tops of buildings, and along their facades. I fell quickly in love. The strangeness. The up-there-from-down-hereness. I began twisting, contorting, continuing in editing the play I started on the street. Gradually, these images have become a body of work that’s unified by its peculiar point of view. Shapes that start as distortions of the physical world, pushed further in the digital world, into tiny dreamscapes. Maybe dreamscape is too big a word, because they’re fragments. If you got context from just outside the frame, they’d fall right apart.

But dreamscape is also a good word. I choose the images I like based on a feeling. Do the shapes operate by their own logic? Could I visit this place, if I weren’t limited by my limbs? Sometimes what starts as a faithful representation passes through abstraction, and becomes a reasonable-looking, very inhabitable place—a place I’ve visited many times—which doesn’t exist.

Some of these I recognize as feelings. It’s like a nostalgia for a place I’ve never been, or a strong call back to unfinished business in a dream. I hope you find that some surprise you, too. A little reminder that another world hovers just below, or beside, or above, or inside our world. I hope some of these images make you yearn a little for a dream.