Considering a dialogue of photography, as an artist in residence in Berlin I began working on a project I titled (S)PACE that confronts institutional critique. My practice is a critique and a deconstruction of our preconceived notions and conventions for exemplifications of institutions, galleries, and museums, and the parameters that make these unifying spaces for art. Similarly my photographic practice realizes critique and deconstruction in our inherent distance from image-making. The camera as a device presents not constraints, but prepossesses elements or factors like those of art institutions. They act as promises of their perception as an institution is a neutral ground, or the camera presenting the expectation of truth. (S)PACE pertains to the elements of its own making, confronting the limitations of materiality as an interrogation of the art object as an empty signifier within this matrix of art institutions. It aims to articulate experiences we have when seeing what would normally be overlooked and how these moments of recognition can mobilize a visceral response.
Mechanisms have historically been developed to mprove the accuracy of art capturing reality we see in our everyday life with the Interplay of more conventional notions of physicality in the Institution and Ways of Seeing, but deconstructed in a way that physically enters the space and calls for a more interactive viewing experience. (S)PACE is about a move towards the articulation of the experience we have when we are confronted by seeing what would normally be overlooked. The invitation for a closer look at (S)PACE results in the pleasure of a slow accumulation of structures that break down the limits of technology and the institution, claiming some moments of representation as being more honest than others. To acknowledge that the act of perception is a form of image-making tha abstracts aspects of reality, peeling those layers apart and putting them back together is a new choreographed understanding of the world around us.