Inherently, the photograph is a source of information. It is a representation of the world at a specific moment in time. We take for granted that this information is truth, that it is a confirmation of reality. Photography allows the coexistence of nature and artificiality to reflect both our understanding and estrangement in the world. The unknown is brought into focus and what we think we know is put into question. This duality skews our representation of nature, allowing the photograph to be even more deceptive while the understanding of the medium is broadened.
This body of work highlights the tension between fiction and documentation through constructed environments and the objects that inhabit them. In these environments, the natural world becomes a mere representation of itself – no longer the thing it was, but signifying its past. Facades of nature give the illusion of a natural space, but only emphasize the longing that we feel for a wilderness untouched by mankind. Displays in museums construct experiences that most will never have, such as being in space or in another time. These images contain things that exert a great deal of power – a waterfall, a volcano, a wild animal – but they appear completely still as if suspended or hovering between these two realities, serving as a haunting reminder of something that has been.