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.