Intertidal Zone


Intertidal Zone is informed by curiosity, environmental concern, and contradiction. Initially this work appears to explore a mixed residential-industrial neighborhood. The images are emblematic of a much larger landscape; these photographs could be from the Southwestern United States, the South, the Northeast, or many other neighborhoods living with consumerist society's legacy. More important than exact place is the jostling mix of land uses here. The final prints, deeply stained and eroded by photographic chemistry, hang mid-room, rather than against walls. They are two-sided, requiring greater explanation than cursory interpretation would provide. Intertidal Zone was created in the hope that people might see the connection between considerations of land use from fifty or more years ago to now, and consider their own lives, choices, responsibilities, and complicities. While perhaps throwing pebbles at consumerism, this work adds to the current conversation asking people to consider the impact of their lives upon others.

Drawing from New Topographics photographers such as Robert Adams, Lewis Baltz, and Frank Gohlke, as well as contemporary photographers such as Edward Burtynsky, Virginia Beahan, Laura McPhee, and Ellen Garvens, Intertidal Zone is more visually similar to work by Sally Mann and Doug and Mike Starn. Intertidal Zone, however, is neither nostalgic nor Romantic. Instead, it is firmly grounded in what is , rather than notions of the sublime that allow us to fantasize about what life might be like. Intertidal Zone invites exploration, asks questions, and considers "the only question that matters – 'Why care?' " (Robert Adams, Why People Photograph)

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