A Source Unknown

I know not from where the abstractions come.

But they always appear, unbidden, like surprises springing forth when least expected—and never planned for. Their arrival brings a kind of solace. I am grateful for these unexpected guests, for they help me rid myself of doubt and confusion by allowing a severe departure from reality.

This departure from reality is not just a diversion; it is essential, particularly for a photographer.

A camera, after all, is but a tool in the art of distortion. It captures three dimensions and flattens them into two, bending depth and form to fit within its frame. It interprets color and tone not as they are but as the whims of technology—guided by the vagaries of engineers and left to chance.

In my work, these abstractions are not mere accidents. They are the very essence of creativity, turning the ordinary into something transcendent.

Each photograph I take is a lie that tells a deeper truth. The lens distorts, yes, but in doing so, it reveals layers of reality unseen.

Each photo I make is a piece of a larger puzzle, one that constructs a new reality. A reality informed by the peculiarities of perception and the unique distortions of my camera.

This is why, when the abstractions come, I welcome them with open arms. They are not disruptions but revelations, showing me truths hidden in plain sight, captured in the confines of a camera’s frame. They teach me to see not just with my eyes, but with abandonment of expectations.

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