Physical Objects

In 2000, shortly after inheriting camera accessories from my mentor’s estate, I made use of one particular gift item called an extension tube (useful for close-up, or “macro,” photography), and began practising with randomly selected objects in my everyday surroundings by arranging them in a style much like props in a theatre setting.

My first study involved a handmade ceramic guitar player as the main character. Staged and art directed, the ensemble was photographed under available light with the help of a simple desk lamp. Under scrutiny, this small, almost forgotten clay figure appeared surprisingly relevant and imposing — effectively dramatised by the extension tube’s magnifying powers. As the series evolved, it triggered new ideas. Some objects were reused, while others were cast in different roles, if you will.

Through curiosity born from loss, Physical Objects examines the translation of form from one dimension to another for a more engaging viewing experience. Collectively, the inanimate shapes evoke a sense of purpose or motion — persuaded in part by their geometric construction — and quietly illustrate the notion of tangibility in multiple ways.