Spatial Chords

David Eskenazi 



Representational artifacts often aim to clarify, define, and categorize a subject. In photography, ambiguous and uncertain circumstances are frozen into a legibly edited object. This allows viewers to examine a scene, action, or emotion without the boundaries of time, personal subjectivity, or situational context. In our fact-based society, the photographic process supports an ideology that values defined and certain circumstances.

In an attempt to challenge this notion, these images examine the representation of space. Photographs are unable to simulate the movements, scale, and physicality of tangible experiences. Typically, these portrayals create distorted spatial perceptions under the guise of realism and indexicality. This investigation produces indefinable perceptions of space while acknowledging the representational condition of photography. By introducing movement, a fundamental requisite to experiencing space, the images are open to subjective spatial perceptions by each viewer.

The photographs record a measured movement through spaces. The individual frame of movement is superimposed with other frames, rendering the final image as an index of a sequence. Initially, the superimposition process is read as a linear record of time. The perception of the composite image, however, is much more than a reading of sequence. Although the image represents linear time, it produces a sense of non-sequential perceptions of space. Scale, depth, and duration are opened to the same plasticity as that of spatial experience. The spatial chords that are usually bound together are broken free.