Our perception of the visual world is shaped by the particular physiology of the human eye and brain—by cognitive mechanisms that rapidly organise visual information into recognisable forms. Cameras are designed in careful alignment with these perceptual tendencies, reinforcing the assumption that what we see is simply how the world appears.

By loosening the camera’s alignment with human recognition, the resulting images begin to register encounters with places and things that are not resolved into recognisable scenes. Terminus adopts a deliberately destabilising method. The images are made without looking through the viewfinder. No cropping, editing, or post-processing is applied.

Under these altered conditions of perception, the images that emerge are not intended as abstractions but as distillations of encounters with places and things. By suspending the hierarchies through which places are typically represented, the photographs allow place and thingness to emerge together as elements within a shared perceptual field.

As viewers search the images and their minimal titles for orientation, they might become aware of the assumptions they bring to the encounter. Terminus interferes with meaning at the meeting between image and viewer, allowing presumption, memory and perception to intermingle within the shared space of the photograph. What is intended is attention to the idea of looking and the act of trust.

Artist Biography