I have simultaneously felt an escalating curiosity about, and connection to the past and have been drawn back through time, beyond my family and ancestors, beyond recorded history to the dawn of humankind and the animals that preceded humans.
Bones are what remain after we die, but they are, for me, an expression of longing to be identified with something beyond myself, something planetary. I feel mystery, reverence, and awe in the presence of these fossilized remains. What is ancient reminds me of our deep connection to nature and each other, a bond easily lost in our fast-paced, high tech lives.
This series addresses concepts of time, wherein bones from a time in pre-history are in dialogue with the twenty-first century, through my manipulations of the images. One sees parts of the whole--remnants of remnants.
For several years I have been intensively exploring the possibilities of image transformation through manipulating photographic processes, and the use of hands-on, time-intensive processes seems particularly appropriate for this subject matter. My own marks on the negatives are the kind humans have made since the beginning of time. They establish the human connection. Some coalesce into primal symbols, such as circles or triangles. Through the marks, layers of time are reflected, as well as layers of space and distance—our distant selves.
Selective bleaching on the prints felt reminiscent of an archeological dig, in which years are cleared away. The use of various toners give the images renewed life.
Some of the photos were taken with a Holga camera, the simple plastic lens of which creates a soft-and-sharp distortion that corresponds more to the images we carry in our mind’s eye