Supernatural occurrences are glimpses of alternate realities that are sometimes witnessed and poorly photographed, according to John A. Keel in Disneyland of the Gods. And from these supernatural occurrences human myths and superstitions are created in an attempt to understand them.
Similarly, I approach image making as an extra-dimensional activity within a hybridizing oscillation of analogue photography, abstract sculptural constructions, and painting - which, as a holistic process, approaches the act and object of painting as a matter of plasticity and not by the use of wet media - aimed at discovering the potential for an alternate reality; a larger world inside the smaller construction. Photography - utilizing soft focus, tilt-shift aspects, and templates used inside the camera in a process that resembles printmaking - is used to deconstruct a model built via continuous decomposition and reconstitution, with an evolution measured in years. This deconstructive process opens the door for a free-associative exploration, which is directly drawn from contemporary folklore laden with blurry photographs in which the human myth-building impulse has found Sasquatches, Chupacabras, aliens, and devils: photography as a canvas for negotiating superstition and myth with the observable world and a window into the bestiary of human imagination.
By painting directly into the photographic print with an airbrush and India ink (aping the photographic surface) I explore the image as a shared space between the fabrication of the model, it’s expansion and metamorphosis behind the window of the photograph, and the free-associative manner in which internal fantasy can project itself into the world. Through the tensions formed by the enigmatic relationships between mediums the viewer experiences an impossible, dramatic space through an object just as perplexing: a hybrid object directed towards forming nebulous lines between media, resisting classification as either painting or photograph. Further, the work mirrors the basic human instinct to conceptualize our environment/landscape as humanness with a horizon line; the timeless tradition of projecting the human likeness - physically, mythically, and metaphorically - into the external world. And by negotiating the descriptive with the non-descriptive a free-associative cycle extends to the viewer who is free to continue elaborating; extending the depicted realms’ evolution through the same metamorphic inclinations as the builders of Mount Rushmore, snow men, and the Nazca lines. As both observation and myth the image becomes a small, hyperbolic projection of the modern world: a hopeful organism as beautiful as it is grotesque.
Copyright 2014, Jake Winiski. All rights reserved.