In an increasingly saturated image culture, images have come to serve the same purpose as linear texts: that is, to distribute information, record history, and express language. This rise in media consumption as well as the rise of digital technology leaves us with a mental and emotional phenomenon that feels very human despite lacking the same tactility as verbal communication. Subsequently, the internet has developed itself as both a place of permanence and ever-flowing, abundant information. All of this accounted for, this series questions where photography stands within a space where it exists so abundantly.

By combining themes of mortality with themes of excess and referencing the styles of Vanitas and Dutch still life, this series explores the overlaps between the obsolescence of technology, and the consequential state of photography in a highly saturated image culture. This cross-examination  establishes the relationship between the digital and the temporary.  Despite the almost universal use of digital tools as cosmetic tools for photographs, this work asks how those digital tools can be used as an extension of the hand, including the artist’s own hands.

Cyber Fantasy challenges the borders of the frame and the screen by digitizing and manipulating the traditional still life to further investigate photography’s place in such a cyber world. The title derives from contextualizing the definitions:. I think of myself as optimistic about technological progress, curious about an ever changing physical and digital world of images, despite an inevitable anxiety caused by it.