Still Life with a Ghost

The premise of the series is explor­ing the con­cept of a tran­sient encounter with the per­ma­nence of an image. Using the ghost (and view­ing thereof) as the sub­ject and instant film for the image medium, the work lever­ages the idea that the viewer of a ghost often will only be cred­i­ble to them­selves, with an expe­ri­ence dif­fi­cult to repro­duce, and one full of doubt and ques­tion­ing. This premise is con­trasted with the instant film, a prod­uct that itself is one of the most sim­ple and per­ma­nent pho­to­graphic mediums.

The instant film is sig­nif­i­cant for this series because of the inabil­ity to repro­duce the work. Pho­tog­ra­phy has had an uphill bat­tle in some cir­cles because, given the right con­di­tions, one can often repro­duce a work over and over again with zero degra­da­tion or affect on the orig­i­nal. How­ever, instant film is pro­tected from this issue as the print scans rel­a­tively poorly and the neg­a­tive is barely usable (if at all) for reproduction.

By com­bin­ing the uncer­tainty and dis­quiet clas­si­cally asso­ci­ated with encoun­ter­ing the ethe­real along the one-shot per­ma­nence of instant pho­tog­ra­phy, this series works to call atten­tion to our own unre­li­a­bil­ity when rec­ol­lect­ing mem­o­ries and how often we mis-remember our own expe­ri­ences, much less know the accu­racy of sto­ries retold to us.