Parallelograms, a nude portrait project shot on 20×24 and 4×5 instant film, is a study of the topography of the human body. Multiple exposures allows the eye to wander in and out of the intersecting and diverging hills and valleys of the human figure. The unexpected shapes that are revealed in the merging of the two exposures is a wholly new creation—a sacred third entity—that exists in no other plane but on that single instant film sheet.
Working with instant film creates a craftsmanship to each image that elevates the photo beyond just the culmination of pigments in emulsion. Like brushstrokes on a canvas, subtle details reveal the hidden history of each image. The temperature and humidity in the room, the age of the film and camera, the motion of how the emulsion is pulled—all these elements combine to make a final image that has a visual language and personality unique to itself. The end result is an instant print that is explicitly physical and singular imparting a finite delicateness to each image. I steer the image in the direction I want, but the final print has a gestalt that is beyond omniscience.
Parallelograms is shot on 4×5 FB3000 45 black-and-white Fuji instant pack film, and 20×24 Polacolor 7 color Polaroid film both of which haven’t been in production for years and the existing stock is rapidly dwindling.
Parallelograms is split into two chapters: the first, 20/24, is comprised of color 20×24 images; while the second, 4/5, is comprised of black-and-white 4×5 images. Both of which are presented in a way that best represents the integrity of the original medium.
20/24 highlights the intense detail and intimacy that comes with an image of that size. Additional versions of the same image are presented next to one another to give credence to the subtle shifts that happen while shooting.
4/5 reflects the immediacy and fluidity that working with a smaller medium allows. There is a greater level of experimentation and diversity in shape and form.