She responded by not only acknowledging that complexity, but using it and adding to it by slicing and reconfiguring original colour negatives. The resulting collages generate staged, ‘synthetic’ landscapes that blur place, memory and time, forming further utopian and ideal spaces.
the work stems from a frustration with photographing landscape, something I refer to as photographic agoraphobia. For years, my work consisted of photographs taken in interior spaces, with suggestions of outside space, as seen through the ongoing body of work entitled Obstructed Views. As soon as I stepped outside with my camera, I felt overwhelmed with the possibilities and became aware of the lack of limitations (provided so neatly by an interior space). "