How COME WHEN I HURT YOU I DON'T FEEL IT

Inserting a contrived element into a ‘real’ or existent context causes a collision between the two. I then photograph the accidents this produces. In this way I constrain the tendency to impose a conception onto the scene and instead invite it to reveal something I can’t expect. What I’m attempting is to relieve the photograph of it’s supposed claim to tell the whole truth and nothing but the truth, without abdicating its ability to refer directly to the world. By openly lying to your face, I am hoping we can get beyond the now tedious debate around the artificial nature of the photograph to look into the ambiguous world, at once real and unreal, it is capable of revealing.
cheers