INCERTAIN LANDSCAPES, DRIFT and FOUNDATIONS
1998 - 2002
3 body of works, 21 artworks (selected images)

At first glance the images from the Uncertain Landscapes series look like natural areas, but they aren't really. Like the landscapes they are based on, they represent nature re-worked. It's easy to miss the fact that these landscapes are the result of deliberate alterations because they easily blend in with their original models. In some ways, they've become our "nature," and lend themselves just as well to outdoor activities. The manipulation of these images becomes a commentary on the artificiality of the landscapes around us. By exposing the alterations to our ecosystems, it highlights our ability to change the course of things.

The non-spaces and no man's lands depicted in the Drift and Foundation series are illustrative of a transitional state. Sites of movement and change, rootless, they are invested with our presence and with our absence: we transform them, but we don't inhabit them. Our contemporary condition finds perfect expression in these dehumanized places, chaotic spaces that stretch out from the edges of our cities, but often go unremarked. Caught between the city and the country, choosing neither, they abound in disconnected events. These spaces show us the tensions, combats and disappearances that mark our social and urban fabric. They are forms of urban dis-organization that speak to our time, emphasizing the different types of malaise inherent to our societies.

The highly mediatized world in which we live surrounds us with abstract spaces and manufactured environments. Our perceptions are inhabited by aspects of a technical culture that transforms, condenses and re-directs them toward a world that is increasingly constructed and orchestrated. A new space is gradually being engineered, one that is inextricably confounding reality and fiction. Doctoring my images, I compose vast panoramas that merge different sites into a single space. These landscapes appear to be familiar, but are constructed from many different images. I use the "transparency" of photography and the fact that it appears to be a direct representation of reality to fabricate spaces that are suspended between document and fiction. These possible worlds show us how easy it is for us to now manipulate and play with the world's realities. We have the privilege of constructing our world: the world we inhabit and the world that inhabits us. This is, of course, not a new phenomenon, but we have unprecedented means for achieving these ends. We give form to worlds that were once impossible and even unthinkable. We act on our surroundings and intervene in the course of events as never before. The universe in which we live has become malleable. It seems clear that our visions and lifestyles have a much greater impact on the world we occupy than in the past.