Random Interference is a web-specific project and installation that explores the afterlife of images and the experience of looking at photographs as a disruptive encounter. Image fragments from my Photographic Interference project are randomly juxtaposed in a continuously changing sequence mimicking our experience of encountering photographs both online and offline.
[On view here is video documentation of the live randomized sequence. Live web version with regular updates of new photos > randominterference.net]
Using different technologies of representation, I explore memory and transmission, how to visualize absence, and the socio-political meanings of photographs. I question how photographs affect how we know what we know, how personal remembrances and cultural recall intersect, and how photographs influence storytelling and history. I use scanned media images and grab others from the Internet. Folders in file cabinets and folders in my computer contain hundreds of images. The images play like filmstrips in my mind
In the late 1990s, I was clipping more photographs from the newspapers than usual. As it became clear in March 1999 that NATO was going to bomb Serbia, I decided to save the front section of The New York Times once the bombing started. My idea was to have a stack of newspapers that signified a war. When the cease-fire was signed, a true resolution had not been reached, so I kept collecting. The World Trade Center was attacked, and I kept collecting. I have not stopped. Photographs of atrocity are everywhere. It is hard to look and hard to look away. Images get under my skin. In making artworks that use and reference this media landscape, I want to cause a rupture in our expectations and speak to our difficult, confusing, and dangerous times where media and photography have simultaneously lost and gained credibility. I am both image-maker and consumer.