Glitch Quilt

This is one file from the Glitch series used to make a four image square. That four image square is then layered out in a grid pattern. Inspired by Jill’s quilting and the workroom in general, this process is also influenced by aspects of the amazing Clive Holden’s work. I don’t fully comprehend everything he does, but I have loved and respected his work for over 15 years now and it’s certainly stuck in my head. He shows with Stephen Bulger in Toronto. This might end up becoming a 48″ x 48″ print.QuiltforIstagramTo get a better idea of how this might look printed look at this on your desktop and click the image to see a bigger version.

Here’s how I started this adventure… and then I decided less is more.

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Glitch are pieces that were saved from a crashed hard drive. I seem to have a lot of these and find myself looking at them more and more. I love the random, error-driven arrangements and colour shifts.T3024x2024-11218A few years back I had a Lacie RAID drive for backup. It died a horrible death and so began the daunting task of having my files restored or at least recovered. The place I get work done on my Mac set to work and in a few weeks had recovered some data. The problem was that what they were able to recover was about 10,000 files and these had lost their names and folders.
So basically I had about 5 years of photography files that were all now just randomly numbered instead of named and they all sat in one folder. Finding stuff meant wandering through the data.

While wandering through, I realized that most of what had been recovered was multiple versions of the same file. Some were Tiff, some RAW and others were file types I’ve never heard of.
This was super depressing. Not only was all my work messed up, a lot of the files were damaged.

I continued taking new photographs and when I sold something older, I had to go into this drive and find it. It sounds horrible, but by this time I had resigned myself to the fact that shit happens, and frankly if I sell work it tends to be something I’m currently working on, and there’s very little backtracking required.  The other day when I was casually glancing back at my external drive setup where all these old files reside, I found myself looking at the error files again.

These are predominantly photographs of subways and a vacation about ten years ago that have been severely messed up. All I’ve done for the versions included in this post has been to crop the 2:3 ratio of each to a 1:1 square ratio. I find that’s the only orientation I like anymore. It’s been my production ratio now for about 7 years.T3024x2024-11567 I find it pretty cool that in the process of recovery for some reason each of these files has been mashed together with several other files and the colours have been messed with. It’s like they were lost for a while. IN the ether of electronic limbo, then they were found again  but that place where they had been had changed them. Reminds me of a very cool book series that I read recently The Southern Reach Trilogy.T3024x2024-11586Lately I’ve been reading a lot about success through failure. This is one of my biggest failures. I certainly learned to be more careful with my digital files, and now have a crazy 10 TB external drive and a traveling 1TB backup for all the final files I ever produce. I should be OK if there’s another failure, but this drive also has built in redundancy and tells me when one of it’s 4 component drives is about to fail. It’s worked very well for a while now.
T3024x2024-11611The thing about these images is that they are super random, and other than the original pictures and this new square crop have almost nothing to do with me other than this epiphany I’ve had in the lat week that these are worth something to me. They also fit very nicely in my developing interest of the image for the image sake, or photography about photography.T3024x2024-02503 So I’ll be going through this vast file full of files and looking for all the messed up images that were created.

It’s like finding a needle in a haystack, and it’s rather daunting to go through all the stuff, but the beauty of some of these images is clear. They also represent a recurring motif in the work I’m producing now which relates to the mythology of the Phoenix and the creatinon of something from the destruction of another thing. T3024x2024-02565 T3024x2024-06998 T3024x2024-06995 T3024x2024-02562

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New show just might be Sliced, Crumpled, Shredded, Folded, and Scored photographs.

The only problem I’m having is why.

Initially this process of manipulations was about the willful destruction of a photograph. This is something that feels a little sacrilegious to me and I’m sure to others. Despite the nature of the digital image the physical photograph has an inherent value to me. Not just because I sell photographs, but also because of the history of the image itself and the memories it holds. One of the reasons I’m doing this is that it feels slightly wrong and that in itself feels strangely right. I’m destroying memory, or at least reconfiguring it.

This process is also about rebirth and redefinition. By taking an existing thing I’ve done and re-inventing it I’m creating something new out of something old. Without the pretentiousness or the mythology–this is sort of like the story of the Phoenix.

Repetition is soothing. I like endlessly cutting things into strips or shredding things. I like doing this manually when I could very easily use a machine or do the manipulation in Photoshop. There’s something deliberately archaic and anachronistic about the process. These are physical objects.

I’m also thinking of making these as 1 of 1s. The physical objects/subjects are 1 of 1s. Those physical objects are also sculptures. So I’m using photography to record a temporal sculpture.  The photographs are reminders of what was created. I was going to mount each of the sliced pieces, but the more I think about it the more I like the idea of them being fleeting. I may just pile all the strips in bags.

These photographs are also paradoxical. I’m re-arranging or reconfiguring memory by manipulating the original photographs and creating temporary sculptural pieces but I’m also recording those manipulated pieces of the past in new photographs. I think that explanation will have to be re-worded to make any sense. Hopefully when I re-read this I can figure it out enough to re-write.


The aesthetic I’m very happy with–the what and the how. The more I write, the more I answer the why somewhat but maybe not enough to balance out the power of the aesthetic creation in my own head. I keep thinking that this work somewhat arbitrary when the images I’m using have a personal history but not a relationship to the process of manipulation. It’s half-baked. Without being cliche, perhaps there’s subject matter that I can specifically shoot then manipulate that will tie the aesthetic and the why together better. In a basic sense, clocks, or calendars might work. Something that represents the passage of time or the temporal. I’ve also thought of doing this with clouds. I like how the natural, or pseudo natural works in this process, better than how the architectural or man made does.

IMG_71248I think the answer lies in creating photographs of water, sky, forest, and nature, then re-imagining those photographs by folding, shredding, scoring, slicing, and folding.

Now, can I figure it out so it works completely in my head?


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