An experimental musician uses many sonic tools to create new sounds in unusual and unexpected combinations. Some may be found sounds with which we are familiar; often sounds are altered into strange sonic landscapes. Today, this experimentation is largely digital. My work approaches photography in a similar way. I take digital extracts, samples, distortions, and effects from conventionally captured images. These experimental images are constructed in response to listening to experimental music. While listening to the music, I seek to embody the sound signs into image landscapes; I try to create those image-scapes in response to sound-scapes. The visual explorations are an attempt to feel the affective media of the sound in visual form. Photography’s history, theories, and expectations make it a complicated medium. It is difficult to use it without representing what is in front of us, even when it’s staged and made up. I have found it easier to create imaginary photographic scenes by using experimental music as a guide, rather than recording a straight photographic document. In documenting and thus creating affect from sound and vision, I aim to take the viewer into experimental means of imagining the possibilities of vision and photography. In essence, I am trying to evoke the possibilities of hearing and seeing across different media.
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