The beginning of this project observes camera apparatuses as de facto black boxes—inanimate manual shamans, deliverers of arbitrary visual transcriptions, in this case the image of the sun and its reflection. The project deliberately focuses on popular devices (iPhone camera, Polaroid, Fuji Instax) as collective agreements on technoaesthetic parameters for the apprehension of visual reality. For example, the sun captured through a Fuji instax camera appears black with a cyan-green halo while the Polaroid sun is a semi-blurred cream white. This shows two opposing visions of equal verity—a Fuji Truth and a Polaroid Truth.

What does it mean to observe one instead of the other?

What does it mean to observe both simultaneously?

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In the assumption that “truth” based on vision isn’t concrete, then how elastic is it?

Is the possible representation of a composite “truth” an alteration of reality or its protean simulacrum? 

When opposing values of light are pushed together they reach the same level plane—a flat, depthless greyness, in which foreground (subject) and background (context) exist in a liminal moment of absolute equivalence. The eye searches for value in a provisional space where there is none, as the borders between extremes become a playground for complementary chromatic flares.