This body of work examines my relationship to my childhood experiences and the images that have come to represent them. I am able to identify events in family snapshots, but I do not recall the actual experiences. In this sense the photographs inform my childhood identity no matter how detached I feel from the experiences themselves, and the distinct color palette of 1980s snapshots plays a large part in how I now perceive my adolescence as an adult.
With these ideas in mind, I transform the original snapshots into a visual language that more accurately depicts my disintegrating relationship to the events in the initial capture. I photograph the original images and digitally sample a variety of prominent colors within each image. I then photograph my computer screen individually filled with each selected color and I blend the subsequent images with the original snapshot. The technique of photographing the screen creates moire patterns, and I emphasize these patterns in the final image as a way to open a dialogue about the cultural shift of snapshot photography from the physical to the digital realm.
The surface of the final images consists of color fields and moire patterns with faded silhouettes and hints of photographic information. The large prints create a dynamic visual experience for the viewer; drawing her or him in with the pleasing pastel color palette while simultaneously repelling through the use of disorienting patterns. The optical interference created by the layers of digital artifacts makes it difficult for the viewer’s eye to discern exact content or rest within the frame; disrupting any familiarity or intimacy commonly associated with the personal snapshot. With these visual tactics, I hope to communicate the inherent disconnect between experience, representation, and memory.