The full installation of Inundated has the 36 images arranged in 4 rows, spanning 18 feet and wide and nearly floor to ceiling.
THIS IS THE SLOW UNDOING OF URGENCY
“Inundated” explores the newspaper as a site of material decay and conceptual instability. Once the paper was fresh, inked with immediacy, folded crisply in half, full of the world’s declarations. Now it wrinkles and buckles under its own weight, stories softened by time, columns dissolving into visual noise. The images are printed on 24 by 22 inch paper with an image size of 23 by 20.5 inches - nearly identical to the size of a piece of newspaper and its printable area. High gloss paper transforms the fragile surface into something reflective and monumental, exaggerating contrast and texture. Color is subdued - never pure black and white - evoking erosion, exhaustion, and ambiguity. Compositions fill the frame almost entirely, eliminating traditional uses of negative space and emphasizing the visual density and typographic chaos inherent to the subject. The papers were photographed on a dark background, devoid of environmental context, allowing the viewer to confront the paper’s physicality in isolation. By emphasizing texture, reflection, and contrast through macro photography, the work abstracts the newspaper from its original function as a vessel for information. The scale and composition mimics the format of a sheet of newspaper while resisting readability, encouraging viewers to observe rather than decode. You are not meant to read these papers. You are meant to see them. A blur of legible fragments float in the chaotic memories we only half-recall. Meaning slips beneath the visual clutter, echoing the way information becomes background noise in a state of constant overload.
“Inundated” explores the newspaper as a site of material decay and conceptual instability. Once the paper was fresh, inked with immediacy, folded crisply in half, full of the world’s declarations. Now it wrinkles and buckles under its own weight, stories softened by time, columns dissolving into visual noise. The images are printed on 24 by 22 inch paper with an image size of 23 by 20.5 inches - nearly identical to the size of a piece of newspaper and its printable area. High gloss paper transforms the fragile surface into something reflective and monumental, exaggerating contrast and texture. Color is subdued - never pure black and white - evoking erosion, exhaustion, and ambiguity. Compositions fill the frame almost entirely, eliminating traditional uses of negative space and emphasizing the visual density and typographic chaos inherent to the subject. The papers were photographed on a dark background, devoid of environmental context, allowing the viewer to confront the paper’s physicality in isolation. By emphasizing texture, reflection, and contrast through macro photography, the work abstracts the newspaper from its original function as a vessel for information. The scale and composition mimics the format of a sheet of newspaper while resisting readability, encouraging viewers to observe rather than decode. You are not meant to read these papers. You are meant to see them. A blur of legible fragments float in the chaotic memories we only half-recall. Meaning slips beneath the visual clutter, echoing the way information becomes background noise in a state of constant overload.