Photography has long anchored my work, as an intuitive, intermediary means of observing the world, and exploring a range of conceptual terrain that includes memory, identity, ritual, language and community. My visual art practice frequently, though not exclusively employs methods and approach of a street photography, moving through various spaces, recording glimpses of everyday rhythms. Through the lens, I seek expression at places of intersection, where private and public identities often overlap, collide, potentially becoming mutually transformative. This particular approach evolved concurrently alongside my broader study of the history of art, specific research and analysis which has emphasized the historical role(s) of photography itself, as a dynamic and often contested mode of representation.
I am never singularly interested in what happens just inside the frame, and seldom can the single frame be assumed to form a discrete statement. The image is never a dispassionate document, but rather a sign of negotiation, the punctuation of an idea, a representative object indicating multiple meanings. As such I have always considered the photograph an object that might introduce ideas or concepts which may be further elaborated when brought into dialogue with other objects, photographic or otherwise. The frame itself interrupts, and thus can itself be disrupted, replaced, or reimagined. Single images may be multiplied, combined, borrowed, juxtaposed or otherwise manipulated to broaden context, and narrative.
Moreover, the unique trajectory of the photographic medium, it's evolving technologies, historical means and ever increased velocity of absorption into contemporary culture, has continued to push my own practice to incorporate experiential and motion-based elements such as film, digital video, and performative encounter, within my own photographic and visual art discourse.
Glen Talks History of Chian Link Fencing