Everything is Anything Else


Glass 10x8, 10x8, 8x4", Gelatin silver print 10x8", C-Type print 23.4 x 16.5", Stereoscopic c-type print 6x6" 


This body of work is an exploration of the transients of being and seeing. It looks at the impermanence of subjects depicted within what appears to be, the permanence of photography. Through pictorialising a glass structure, which has been disected from the photo frame, the object is transformed into lines that mimic light and disrupt the space. The glass can be seen as metaphorical for the material state of the photograph - transparent and fragile. The panes of glass rely on each other to create their form, without each other they couldn’t stand up. If the glass was positioned directly in front of the lens it would become invisible. The glass’ reflective surface relies on light to show its personality; its marks showing its handling.

Quoting Artie Vierkant, ‘Nothing is in a fixed state...everything is anything else, whether because any object is capable of becoming another type of object or because an object already exists in flux between multiple instantiations’ (The Image Object Post-Internet by Artie Vierkant).

When we photograph objects we are transforming the properties that solidify them - they no longer exist as mere objects but become a representation of such - the operator chooses it’s perspective(s). Objects can be defined through their materials and their spatial form, so when they become mediated through the camera, they become re-defined by the very nature of becoming something else. Essentially time and space are being played with, for if we look a photograph of an object we see the object, we do not see a photograph of an object. With the rapid progress of digitalisation, contemporaries have become concerned with the materiality of the photograph, moving back to the modernist ways of material.

Copyright © Taylor Lyttleton