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I have photographed domestic interiors of suburban, urban, and rural homes for many years and have always approached my subject matter as archaeological sites where each object contributes to the construction of a rich cultural and historical narrative. Recently I have become interested in the parallels between the construction and decoration of space, and the formation and interpretation of the photographic image. My new work, titled Views, is comprised of a series of three-paneled works. One panel depicts an image of a domestic interior. In some of the images it appears as though some intervention or propping might have preceded the photo-shoot, yet it is deliberately unclear as to whether the photographer or the homeowner has staged the scene. The sharp and vibrant colours of the resulting prints indicate possible darkroom or digital work, yet the images are seamless and bear no obvious physical signs of manipulation. In order to highlight such ambiguities and to suggest that home décor, like the photographic process, is merely a constructed fiction open to a wide range of interpretations, I have incorporated texts culled from two different sources into the other panels. An italicized text has been provided by the homeowner, describing an emotional or physical relationship to the home. A standard-font text has been supplied by a homebuilder/architect, who has interpreted the photographs according to his professional background and perspective. Each work thus points to multiple truths inherent in the experience and translation of any space. This series suggests that home owners, photographer, home builder and viewers are all equally complicit in the construction of a wide range of ever-shifting and malleable fictions.
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