The Making of Incendio Installation

This photograph was printed 18 feet wide and displayed as part of a group exhibition called “Harbour”. It could only be used once. Essentially, it was going to forever stay concealed in a plastic bag.

I began burning things this year. Once a month, I’d get out a piece of paper and write down ideas, people, and things that I wanted to let go. It was an exercise in self-reflection that turned into something more like an energetic release. It was extremely cathartic. The idea of burning the print was a bit crazy at first and felt like taboo. The more I thought about it, it became clear that burning the piece would bring it to completion. The final departure: leaving the harbour against an endless horizon - an final act of release.

It takes a village - thank you: Angel Bustard, Jade Mueller, James MacDonald, Michael Mohan, Mike Duncan, Mike Roy, Nathaniel Mueller, Nick Staples, Vanessa Duncan, Victor Szymanski

Departure (Vessel) Pt. 2: Burning Installation TEST

The burning test for the beach installation of Departure wasn’t a total success but it also wasn’t a total flop. There were many factors to consider - the tide, the wind, the humidity, the burn rate of the paper.

More thoughts on this later.

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Thoughts on Light

“Light is the keeper of Time and Photography is nothing without either. “

light therapy

In its physical sense, Light shows us what is in the dark. As a metaphor, when we are enlightened, the parts of ourselves that we keep hidden are illuminated and seen. True healing from within can only begin when we crack ourselves open, allowing light into the darkest corners or our minds where fear, pain and regret often exist. Light reveals. It heals. There is freedom and beauty in this transformative process; to be seen and known.

We may survive in darkness but is that really any way to live?

Much like the words of a song or lines in poetry can stir up feelings, I believe a certain quality of light can be quite profound- it can provoke an emotional response. When I observe light to see how it is speaking to me, I feel that I am brought into a meditative state. In particular, sitting with the fading light at the end of a long day and indulging in the poetic nuance it possesses does wonders for my mind. Shadows grow longer and light becomes softer until it suddenly disappears; the mark of another day.

Light is the keeper of Time and Photography is nothing without either.

light+therapy

Making A Self Portrait


April 2018 & April 2019

For me, self-portraiture is an act of self-assessment. Much like the process of what I like to call “Light Therapy”, the time I take to make a self portrait involves a great amount of turning inward, taking stalk of my emotions and what is occurring in my life at that time.

My hope is that I will continue to record myself in this manner as a way of remembering where I’ve come from and where I hope to go. Life is so incredibly busy at times. It is important to make time to be with yourself, in silence and in reflection.

These photos were taken one year apart in my studio on Canterbury.

Analog Self Portrait, Nienke Izurieta

HARBOUR & The Making of "Departure (Vessel)"

“Twenty years from now you will be more disappointed by the things that you didn't do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbour. Catch the trade winds in your sails. Explore. Dream. Discover.” (Quote by H. Jackson Brown Jr. but commonly misattributed to Mark Twain.)

I came across this quote while doing research of the word ‘harbour’. What inspired and resonated with me the most was that it addressed the idea of being held back by the limitations of safety that can leave us unchallenged, stagnant and unable to grow. 

For the making of the photograph, I used a model who is a very good friend. We trust each-other immensely which is important to me when making work deeply personal. In general, I am drawn to working with people in which there already exists a rapport and an understanding of each other.

In this case, I didn’t divulge much information to him about what the process meant to me or how I really planned for the final photograph to be displayed. The concept hadn’t fully formed yet so he had just as much of a role in the evolution of the process as I did. He was just as much a conduit for my own experiences as he embodied his own.

I love this kind of energetic and symbiotic relationship. It is complex but when it’s right, it works effortlessly.

The final photograph is the result of an emotional and creative process exploring risk, renewal and rediscovery. We remain secure within harbours until we are willing to leave the familiar. Much like vessels, we navigate the precarious waters of life; a surrender and a departure into the unknown. 

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Test Print