mirrorrim
project statement:
Mirrors show what occurs outside of the confines of the photographic frame, expanding the image to encompass alternate viewpoints. In doing so, the image is a compilation of fragments, encouraging a different perspective of the performance of the everyday.
Play and curiosity drive these sculptural interactions. Beginning with impulsive urban wanderings, sites of potential reveal themselves. A performance begins as mirrors are placed or held to discover new realities. Varying outcomes are created, forming tension as subtle slippage between viewpoints is juxtaposed with the visible interaction between hand and mirror.
Blinkered, fleeting views reveal fragments of a city. This disjointed view of the city depicts highly sensory experiences connected to how we feel navigating urban environments. Drawing influence from Guy Debord’s Psychogeographic Guide of Paris (1957), a non-linear representation of the city is resemblant to our movements and memory within it. Beck's resultant imagery depicts drifting compositions that collect in ambient unity.
The mirrors serve as abstractions of moments, a collection of clues that allude to traces and ambiguous human form. Within ambiguity comes a universal reading, as we identify with the characters that drift through the stage of the image. Familiar marks of graffiti, cobbled stonework and tears of water appear to surface in our memory, as we try to recollect our own experience within the city.
Mirrors show what occurs outside of the confines of the photographic frame, expanding the image to encompass alternate viewpoints. In doing so, the image is a compilation of fragments, encouraging a different perspective of the performance of the everyday.
Play and curiosity drive these sculptural interactions. Beginning with impulsive urban wanderings, sites of potential reveal themselves. A performance begins as mirrors are placed or held to discover new realities. Varying outcomes are created, forming tension as subtle slippage between viewpoints is juxtaposed with the visible interaction between hand and mirror.
Blinkered, fleeting views reveal fragments of a city. This disjointed view of the city depicts highly sensory experiences connected to how we feel navigating urban environments. Drawing influence from Guy Debord’s Psychogeographic Guide of Paris (1957), a non-linear representation of the city is resemblant to our movements and memory within it. Beck's resultant imagery depicts drifting compositions that collect in ambient unity.
The mirrors serve as abstractions of moments, a collection of clues that allude to traces and ambiguous human form. Within ambiguity comes a universal reading, as we identify with the characters that drift through the stage of the image. Familiar marks of graffiti, cobbled stonework and tears of water appear to surface in our memory, as we try to recollect our own experience within the city.
works from top to bottom: 1. Drape, 2. Monument, 3. House Collage, 4. Mirror, 5. Tears, 6. Marking, 7. Belleville, 8. Align, 9. Shadow in Shadow, 10. Mother, 11. Locomotion, 12. Seine, 13. Garden of Forking Paths, 14. Monument to Algeria