Traces of Perception
Traces of Perception is a series of 100 photographs taken with an iPhone while driving family members — most often my husband — to and from the airport. Divided into four sections — Departures and Arrivals, En Route, Roadside, and Place — each image is titled with the errand or location, along with the exact date and time it was taken.
Originally blurred by motion, the photographs were later processed into precise horizontal lines. With all referential details removed, the images become abstractions — fields of light, color, and movement. Meaning is no longer fixed but shaped by the viewer’s own perception.
Here, photography is not a record of what was, but a study of how perception begins — how space, time, and motion generate the conditions for understanding.
Each photograph in Traces of Perception was exhibited at 36 x 36 inches, face-mounted on matte plexiglass. As pieces sold, they were replaced with smaller, unframed referential prints — fragments that echoed the original while shifting scale and context. This gradual substitution subtly altered the installation’s rhythm, reinforcing themes of disappearance, transformation, and perceptual instability.
Though conceived as a single body of work, Traces of Perception can be reconfigured into smaller series, offering new readings through shifts in rhythm, color, and spatial relationships — echoing the work’s core interest in perception as a process, not a fixed state.
