Artslant   2009

Abigail Reynolds scours used bookshops and flea markets to recover images of landmarks, monuments and landscapes printed at a similar scale and shot from approximate vantage points by separate photographers at different points in time. The two corresponding bookplates are merged through a series of incisions and folds, which result in an undulating three-dimensional honeycomb like surface in which the entirety of each page is preserved.

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The Universal Now: National Gallery 1950|1921 (2010)

In addition Abigail Reynolds collages serve as a commentary on photography’s notion of the ideal perspective and the medium’s inability to operate without bias. The repetitious perspective in the found book pages confirms man’s conscious or subconscious impulse to represent place with strict precision. This synchronistic popularized documentation inevitably influences society’s relationship to place through democratic identification and classification, replacing objective experience and associations with superficial constructions.  In the process sites become cultural signifiers with impenetrable auras, fixed in the infinite present.

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