As a child I would cry at the thought of blinking during a film because I had missed a crucial second.
I have become increasingly fascinated with dissecting the spectacle of cinema; our particular attraction to feelings, atmospheres and aesthetics in the films that we love. It is the soul of a film that resonates with me, a dimension beyond sight and sound; the moments of emotive connection between scenes and seconds.
My photogram practice in these series evolved as a result of these feelings, developing into a growing desire to capture the cumulative soul of a cinematic piece in image. The photographs in Ali are appropriative in a sense, but transcend such labels to exist as something more entirely, possessing a new agency beyond the confines of the source material. They possess a duality in form and materiality. The negative exists as a haunting subversion of the cinematic image on screen, sometimes indecipherable, yet familiar. The positive exists as a more directly referential evolution of the original moment. Each exists as its own narrative, coming together in a unique intertextuality.
Ali is one of five bodies of work encompassing the Bully series, named for one of the five characters of Larry Clark’s crime drama which chronicles the youths’ lives prior to and after murdering their friend.